Examen Distintivo H the great wall slot forum

University theater

Sterinous sterile theatrical theater Dr. T. V. RAO MD Professor Microbial Sciences Travan Call Column, India Dr. T.

Modern Theater 1950-2020 by David Staples

The modern theater 1950-2020 Modern Theater 1950-2020 is a survey of theaters, concert halls and opera houses in 1950-2020.

Case Study of Esper Branch Theater on Bay (Singapore)

URBAN ENTERTAINMENT HUB, LudHiana, Punja b-Si Co Walk Literature Review THESIS 2018 CHANDIGARH COLLEGE OF ARCHITECT

Types of theaters in the theater

There are various types of theaters in the theater, but there are three major parts. The theater consists of the following three parts.

Appropriate sizing of a highly satisfying operating room

Appropriate sizing of a highly satisfying operating room-Japanese model Hiroshi Yasuhara Medical Science Surgical CE

Southwestern University

Monash University

2016. 3. 8 IDP Indonesi a-Bandung Mr WILLY JUANGGO JL. Sulanjana NO 3 Dago, Bandung Jawa Barat Indonesia 40116 M

Quoted preview

University theaters and repertoire editing: Vito Minoia, Maria S. Horn Elka Fediuk, Francoise Odan, Lucil Garban Tea Dennis Beck, Aubrey Mella

First edition edizioni Nuove Catarsi, Urbino (Italia) Publisher THE EUROPEAN REVIEW THEATRES OF DIVERSITIES: www. edizionuovecatarsi. org RidellediverSita. it copyright © Aenigma Associatione Culturale CittaDina UNIVERSITARIA Registered Office: Via Giancarlo de Carlo N ° 5, 61029 Organizational Address: VIA Peschiera N ° 30, 61030 Cartoceto, Pesaro E URBINO (I) [Website: WWW. TeatRoenigma. it C o-issued with the association: Antonio CIOFFI logo "Theater & amp; university" by ludovico cioffi cover image The Resistible Rise of Arturo UI (Photo 1965), Moscow U Theater Repertoire.

No decisive copies and reprints are prohibited. In any part of this publication, it is prohibited from the copyright, mechanical, copied, recorded, recorded, and other formats, and to resends them into search systems without prior permission. 。 The author, copyright or publisher shall not be liable for any loss or damage of any property that depends on the duplication of the contents of this publication or the loss of the contents of the content.

Editing Series: Vito Minoia (University of Urbino, Italy) Publishing Director (Editor): Elca Fediuk (University of Belaculus, Mexico) Publishing Director (C o-editor): Spanish Maria S. Publishing Joint Joint editing), Lucile Garbagnati (Université de Franche-Comtée, France) Publishing (joint edited), French later ODIN (Insa de Lyon, France) French Dennis Beck (James Madison University, USA) Publisher in charge (joint edit), English AUBREY MELLOR (Lasalle College of Arts, Singapore) Publication Joint charge (joint edited), English

Each volume of this series uses a double blind referee system.

Editzioni Nuvee Katarushi AITU / IUTA

University theater community Vit Minoia

ELKA FEDIUK & AMP; Maria S. Horne Edition as a Cultural Project: Belacles University Theater Company Elka Fediuk

Difference in expressing: Mexico, Puebla University Theater Isabel Christina Flores

Chile's University Theater: Continuation and Reform Pía Salvatori Maldonado

Social interaction with Essena: Vit Minoia for an inclusive education theater

Lucile Galvanathy & Françoise Odan Conducted Reel University Festival 3 Sotile Haviuras & Elaine Lutier

Antique 40 years of Natalie Duplen Michel & Ann e-Sophie Meyer

Serving on the plateau of Ann e-Frederick Burgie

Edit: Dennis Beck, Aubrey Meller David Yugo that releases ugly voices

Shakespeare's hamlet classic and modern Lusaeva Nadesda on the Russian stage

The impact of Spain and Latin American drama in Portugal's university theater

Dialogu e-type drama for social change: Who is we and what do we do? Anne Friotos

Remotry Anatreie Saffronichin from the founding of the Moscow University Theater to the present, Elena Iralionova

About repertoire in the graduate drama program in the United States, Maria S. Horn, Chelsea L. Horn

Family exploration and repertoire expansion: Model for creation Angela konrad student experimental theater DENNIS BECK Student performance Karin FreyMeyer

Lithuanian Student Student Theater Ritomus Vilnius's International University Theater Forum Dahlia Kia Paite

Theater as an educational tension: New quarrel between ancient and modern people, Kara Gargano

Talk between Maurice Durodier and Francoise Odin Françoise Odin at the AITU X World Tournament held on July 30, 2014

Introduction of the university theater world by Vito Minoia Dialogu e-type drama for social change: Who are we do? Anne Friotos

Remotry Anatreie Saffronichin from the founding of the Moscow University Theater to the present, Elena Iralionova

About repertoire in the graduate drama program in the United States, Maria S. Horn, Chelsea L. Horn

Family exploration and repertoire expansion: Model for creation Angela konrad student experimental theater DENNIS BECK Student performance Karin FreyMeyer

Lithuanian Student Student Theater Ritomus Vilnius's International University Theater Forum Dahlia Kia Paite

Theater as an educational tension: New quarrel between ancient and modern people, Kara Gargano

Talk between Maurice Durodier and Francoise Odin Françoise Odin at the AITU X World Tournament held on July 30, 2014

Introduction of the university theater world by Vito Minoia Dialogu e-type drama for social change: Who and what do we do? Anne Friotos

Remotry Anatreie Saffronichin from the founding of the Moscow University Theater to the present, Elena Iralionova

ELKA FEDIUK & AMP; Maria S. Horne Edition as a Cultural Project: Belacles University Theater Company Elka Fediuk

Difference in expressing: Mexico, Puebla University Theater Isabel Christina Flores

Chile's University Theater: Continuation and Reform Pía Salvatori Maldonado

Social interaction with Essena: Vit Minoia for an inclusive education theater

Talk between Maurice Durodier and Francoise Odin Françoise Odin at the AITU X World Tournament held on July 30, 2014

Introduction of the university drama world by Vit Minoia

In 2006, I started working on a research project for university theater history on behalf of the International University Theater Association (IUTA). Since 2010, history has become a major impact on culture, and we are currently supporting more important projects to achieve our goals. These initiatives encourage researchers to consider the need to support policies that support humanities and art science. The collection "THEATRE AND UNIVERSITY" published by Edizioni Nuove Catarsi began in consideration of such cultural background. The collection aims to provide information on research and survey projects by International University Theater Association in accordance with the most accurate and innovative research standards. The association was established in 1994 and is now from more than 50 continents. This first volume deals with the characteristics of university drama repertoires through the selection of entrusted works after the 10th World University Theater Council held at Liege University in Belgium in 2014. This book is one step in the idea that we handle it is a phenomenon that is a phenomenon that should not be considered to be a peripheral or only a historic lo w-specific consideration. University theater itself is an area that fulfills important functions for culture and theater phenomena. In 2006, I started working on research projects in the history of university drama on behalf of the International University Theater Association (IUTA). Since 2010, history has become a major impact on culture, and we are currently supporting more important projects to achieve our goals. These initiatives encourage researchers to consider the need to support policies that support humanities and art science. The collection "THEATRE AND UNIVERSITY" published by Edizioni Nuove Catarsi began in consideration of such cultural background. The collection aims to provide information on research and survey projects by International University Theater Association in accordance with the most accurate and innovative research standards. The association was established in 1994 and is now from more than 50 continents. This first volume deals with the characteristics of university drama repertoires through the selection of entrusted works after the 10th World University Theater Council held at Liege University in Belgium in 2014. This book is one step in the idea that we handle it is a phenomenon that is a phenomenon that should not be considered to be a peripheral or only a historic lo w-specific consideration. University theater itself is an area that fulfills important functions for culture and theater phenomena. In 2006, I started working on research projects in the history of university drama on behalf of the International University Theater Association (IUTA). Since 2010, history has become a major impact on culture, and we are currently supporting more important projects to achieve our goals. These initiatives encourage researchers to consider the need to support policies that support humanities and art science. The collection "THEATRE AND UNIVERSITY" published by Edizioni Nuove Catarsi began in consideration of such cultural background. The collection aims to provide information on research and survey projects by International University Theater Association in accordance with the most accurate and innovative research standards. The association was established in 1994 and is now from more than 50 continents. This first volume deals with the characteristics of university drama repertoires through the selection of entrusted works after the 10th World University Theater Council held at Liege University in Belgium in 2014. This book is one step in the idea that we handle it is a phenomenon that is a phenomenon that should not be considered to be a peripheral or only a historic lo w-specific consideration. University theater itself is an area that fulfills important functions for culture and theater phenomena. Its unique

In 2015, the European magazine "THEATRES OF DIVERSITIES" posted the essay "A Glimpse Through Time" by Maria S. Horn. In that case He introduced a new column specializing in the history of university drama, and states that it is possible to find a record from the origin of the union for the existence of university drama in the United States.

As a result, both the number of spectators and the number of participants increased. The latter has been involved by developing new initiatives, such as decentralization, new social connections in local theaters, community theaters, and ideas for collective organizations with revolutionary spirit. This trend can also be confirmed from the experience of the director Jean Franco de Bodio. In 1946, he created Padva's first university drama experience in Italy after the war: university theater actors, led to a variety of choices, including knowledge, academic, scientific discussions, or just a theatrical profession. There is. He / she is led by today to participate in the flow of history from the perspective of multiple cultures and mult i-ethnic theater. In order to discover human rich and universal features, the choice of focusing only on one aspect of play in your own language has not been eliminated.

Over the past 25 years, new generations of university students have chosen this perspective, gradually eliminating Europea n-centered perspectives. They founded more than 100 theater festivals around the world and realized that they were part of the international cultural approach. After World War II, the first Aerralangen Theater Festival 5 and the Nancy Theater Festival 6 later, not only the student troupe, but also the living theater and Yezi. ・ Two new theater companies such as Gritovski were also invited. In this book, he paid a respect for his experience and spoke with Françoise Odan, an actor and c o-producer of Ariane Munuskin. 3 At the opening of the 6th World University Theater Conference (July 2006, Ulvino), we remember the words that theater historian Emilio Potzi said. He talked about the performance experiment of William Shakespeare's "Syinberin", which was promoted by the University of Bekanson from 1991 to 1993 (shortly after the Sengen Agreement in 1990). This show is interpreted in a theatrical research approach different from the five languages of Lithuania, Scotland, Romania, France, Belgium, and Italy, and is performed at Becanson, Dijon, Urbino, Iashi, Villins, and Glasgow. I revealed the voice and style. 4 Gianfranco de Bosio, "Lo Specchio Infranto" In Actors in University, ED. V. Minoi Exclusion However, this perspective was selected. They founded more than 100 theater festivals around the world and realized that they were part of the international cultural approach. After World War II, the first Aerralangen Theater Festival 5 and the Nancy Theater Festival 6 later, not only the student troupe, but also the living theater and Yezi. ・ Two new theater companies such as Gritovski were also invited. In this book, he paid a respect for his experience and spoke with Françoise Odan, an actor and c o-producer of Ariane Munuskin. 3 At the opening of the 6th World University Theater Conference (July 2006, Ulvino), we remember the words that theater historian Emilio Potzi said. He talked about the performance experiment of William Shakespeare's "Syinberin", which was promoted by the University of Bekanson from 1991 to 1993 (shortly after the Sengen Agreement in 1990). This show is interpreted in a theatrical research approach different from the five languages of Lithuania, Scotland, Romania, France, Belgium, and Italy, and is performed at Becanson, Dijon, Urbino, Iashi, Villins, and Glasgow. I revealed the voice and style. 4 Gianfranco de Bosio, "Lo Specchio Infranto" In Actors in University Theater, ED. V. Minoi. , This The viewpoint was selected. They founded more than 100 theater festivals around the world and realized that they were part of the international cultural approach. After World War II, the first Aerralangen Theater Festival 5 and the Nancy Theater Festival 6 later, not only the student troupe, but also the living theater and Yezi. ・ Two new theater companies such as Gritovski were also invited. In this book, he paid a respect for his experience and spoke with Françoise Odan, an actor and c o-producer of Ariane Munuskin. 3 At the opening of the 6th World University Theater Conference (July 2006, Ulvino), we remember the words that theater historian Emilio Potzi said. He talked about the performance experiment of William Shakespeare's "Syinberin", which was promoted by the University of Bekanson from 1991 to 1993 (shortly after the Sengen Agreement in 1990). This show is interpreted in a theatrical research approach different from the five languages of Lithuania, Scotland, Romania, France, Belgium, and Italy, and is performed at Becanson, Dijon, Urbino, Iashi, Villins, and Glasgow. I revealed the voice and style. 4 Gianfranco de Bosio, "Lo Specchio Infranto" in Actors in University Theater, Ed. V. Minoi. V. Minoi

Peter Brook This approach stems from a desire to break away from the social, moral, political and aesthetic order of the time. Recently, the younger generation has expressed a new demand for a greater focus on the study of roots, cultural criticism and identity. As Elka Fediuk 7 says, studying the repertoire produced during the lifespan (short or long) of a university theater allows one to evaluate its "cultural project". Although the chapters in this volume consider such a cultural project from different perspectives and originate from different cultural spheres, each chapter is published in one of the three official languages of IUTA: Spanish, French and English. The volume is divided into sections by language, which vary in length depending on the number of contributions received in each language. In future volumes, this ratio will undoubtedly change, although the critical reflection on the theme will continue. For example, the special documents collected and analyzed here allow for the first time to express some reflections on the repertoire through categories such as continuity and redefinition. The Chilean experience presented by Pia Salvatori is one of the examples mentioned above. From the 1940s to the present, the aesthetic and social tendencies of the Pontifical Catholic University in Chile have had a strong influence on the country's theater scene. The history of the Count's family has been marked in this way since 1290, when the first university was founded in Portugal, until today.

7 Researcher and professor at the University of Belacrusana University (Mexico) at the Documents Research Center. The 8-coin bra, Lisbon, and Ooportian festivals have created underground scenes with ant i-colonial approaches, new audience, and ne w-generation actors and directors who are active in the independent international scenes. 7 Researcher and professor at the University of Bellacrusana (Mexico) Art Creation and Documents Center. The 8-coin bra, Lisbon, and Ooportian festivals have created underground scenes with ant i-colonial approaches, new audience, and ne w-generation actors and directors who are active in the independent international scenes. 7 Researcher and professor at the University of Belacrusana University (Mexico) at the Documents Research Center. The 8-coin bra, Lisbon, and Ooportian festivals have created underground scenes with ant i-colonial approaches, new audience, and ne w-generation actors and directors who are active in the independent international scenes.

Selected shots from Bertolt Brecht's The Resistant Rise of Arturo Ui, staged at the Zagreb International Festival in 1965, directed by Sergei Yutkevich and Mark Zakharov. The second analysis from Russia is by Nadezhda Ruzaeva. Inspired by the recent university production of Hamlet, she provides information on the fortunes of the most popular Shakespeare play on the Russian theatrical scene. After its first performance in 1748, the author considers the various adaptations from 1837 to the present day, and in the 20th century in the context of the Moscow Art Theater. The two contributions from the Universities of Veracruz and Puebla in Mexico also have a historical perspective at the forefront. Elka Fediuk considers the six decades of activity of the Veracruz Company (1953-2013) and provides a reference for expressing the values and aspirations of the institution, directors and actors in dialogue with the pedagogical perspective and the audience. Isabel Cristina Flores, director of the University of Puebla Theater, focuses on the relationship between history, tradition and socio-political developments, and also mentions the impact it has had on local culture and theatrical traditions since its origins in 1948. Particularly interesting is the original comparison of three productions of Antigone (1957, 1995, 2002). Karin Freimeier, professor at the Art Center of the University of Bochum, examines and explains the plays about natural scientists that were performed in the last 15 semesters.

The other is a test case for Lithuania's student drama: Dahlia Kiapiite shows how the forum affected the repertoire of Lithuania, and on historical and social themes and cultural heritage. The theme shows the production line and limits. In addition, the development of environmental drama aimed at giving value to specific buildings has emerged. 16

Another perspective is to consider how a methodological approach creates a conceptual and operational decision (including repertoire). This is a case of an inclusive education theater developed by the Aenigma Theater of Ulvino University in Italy for over 20 years. They are working on a symbolic work involving college students with people with disabilities, prisoners, and mentally ill (with international scientific activities promoted by Catarsi-Teatri Delle Diversità in Europe, and social theaters It is also thanks to the contact of the art theater). From an educational point of view, Dennis Beck of James Madison (USA) reflects the theory of educators and educational theorists, David Corb, and how personal spontaneousness, responsibility, and discipline have student experimental drama. It emphasizes whether it can be an experiential education environment that fosters innovation and the courage as a professional. If the center of observation and production by Ann e-Frederick Burgier in Leel University (France) is creative, Anne Friotos of the University of Purdue (USA) is August Boir, Viola Sporine, Michael Road, Using cultural references, such as other past and current researchers, the theoretizes of interactive theater for social change, and proposes a widespread Universal Theater. Another perspective is to consider how a methodological approach creates a conceptual and operational decision (including repertoire). This is a case of an inclusive education theater developed by the Aenigma Theater of Ulvino University in Italy for over 20 years. They are working on a symbolic work involving college students with people with disabilities, prisoners, and mentally ill (with international scientific activities promoted by Catarsi-Teatri Delle Diversità in Europe, and social theaters It is also thanks to the contact of the art theater). From an educational point of view, Dennis Beck of James Madison (USA) reflects the theory of educators and educational theorists, David Corb, and how personal spontaneousness, responsibility, and discipline have student experimental drama. It emphasizes whether it can be an experiential education environment that fosters innovation and the courage as a professional. If the center of observation and production by Ann e-Frederick Burgier in Leel University (France) is creative, Anne Friotos of the University of Purdue (USA) is August Boir, Viola Sporine, Michael Road, Using cultural references, such as other past and current researchers, the theoretizes of interactive theater for social change, and proposes a widespread Universal Theater. Another perspective is to consider how a methodological approach creates a conceptual and operation decision (including repertoire). This is an experimental case of the Inclusive Education Theater developed by the Aenigma Theater of Urbino University in Italy for over 20 years. They are working on a symbolic work involving college students with people with disabilities, prisoners, and mentally ill (with international scientific activities promoted by Catarsi-Teatri Delle Diversità in Europe, and social theaters It is also thanks to the contact of the art theater). From an educational point of view, Dennis Beck of James Madison (USA) reflects the theory of educators and educational theorists, David Corb, and how personal spontaneousness, responsibility, and discipline have student experimental drama. It emphasizes whether it can be an experiential education environment that fosters innovation and the courage as a professional. If the center of observation and production by Ann e-Frederick Burgier in Leel University (France) is creative, Anne Friotos of the University of Purdue (USA) is August Boir, Viola Sporine, Michael Road, Using cultural references such as other past and current researchers to theorize interactive theater for social change, and propose a widespread Universal Theater.

and American University (Washington, DC) provided a detailed overview of "Repertory and Graduate Theatre Program Themes in the United States." The authors considered University Regulated Theatre Association (URTA) schools for the 2013-2014 academic year. Seventeen

The urgency of the abov e-mentioned survey is based on the understanding that student training and the development of spectators depend on the fact that universities must continue to be research and knowledg e-centered places. The recorded data is not very optimistic. With the reduction in funding for art, the development of new works that can effectively convey modern times is threatening. "The future of American dramas cannot be made by commercial drama alone." In the late 20th century, university theater gradually gained universal recognition, and the existence of performing theater in the academic program has abolished the view of theater as a mere literature subject. Through the development of international festivals for decades, research and experiments of drama language, and efficient democracy practice (through research on repertoers, the ae of theater aesthetic, ethical, and citizen meaning Contributed to the development of). Today, it is becoming increasingly important to protect the role of drama, culture, and humanities in modern university systems. In order to overcome the utilitarian and extreme economic approach, it is necessary to create a new category that can overcome the limits of traditional economic analysis. A new concept must be different from growth concept. Economic development should not match the expansion of economic activities. The urgency of the abov e-mentioned survey is based on the understanding that student training and the development of spectators depend on the fact that universities must continue to be research and knowledge. The recorded data is not very optimistic. With the reduction in funding for art, the development of new works that can effectively convey modern times is threatening. "The future of American dramas cannot be made by commercial drama alone." In the late 20th century, university theater gradually gained universal recognition, and the existence of performing theater in the academic program has abolished the view of theater as a mere literature subject. Through the development of international festivals for decades, research and experiments of drama language, and efficient democracy practice (through research on repertoers, the ae of theater aesthetic, ethical, and citizen meaning Contributed to the development of). Today, it is becoming increasingly important to protect the role of drama, culture, and humanities in modern university systems. In order to overcome the utilitarian and extreme economic approach, it is necessary to create a new category that can overcome the limits of traditional economic analysis. A new concept must be different from growth concept. Economic development should not match the expansion of economic activities. The urgency of the abov e-mentioned survey is based on the understanding that student training and the development of spectators depend on the fact that universities must continue to be research and knowledg e-centered places. The recorded data is not very optimistic. With the reduction in funding for art, the development of new works that can effectively convey modern times is threatening. "The future of American dramas cannot be made by commercial drama alone." In the late 20th century, university theater gradually gained universal recognition, and the existence of performing theater in the academic program has abolished the view of theater as a mere literature subject. Through the development of international festivals for decades, research and experiments of drama language, and efficient democracy practice (through research on repertoers, the ae of theater aesthetic, ethical, and citizen meaning Contributed to the development of). Today, it is becoming increasingly important to protect the role of drama, culture, and humanities in modern university systems. In order to overcome the utilitarian and extreme economic approach, it is necessary to create a new category that can overcome the limits of traditional economic analysis. A new concept must be different from growth concept. Economic development should not match the expansion of economic activities.

9 Amartya Nussbaum. The Quality of Life (OXFORD, English). ENE UNIVERSITARIE PER IL TEATRO SOCIALE EQUELLO D'ART "in Actors in University Theater, Edited by v. minoia. v. minoia, m. s. horne, j. Baldwin, C. Page (Urbino: EDIZIONI NUOVE CATARSI, 2010), 33.

Edit: Elca Fediuk, Maria S. Horn Cultural Business: Belacles University Theater Elka Fediuk

Difference in expressing: Mexico, Puebla University drama Isabel Christina Flores

Chile's university theater: Continuation and reconstructed Pier Salvatri Mardonard

Scene and Social Interaction: Vit Minoia for Inclusion Educational Drama

The University of Belaculus (UNIVERSIDAD VERACRUZANA) is the oldest university troupe in Latin America and was founded in 1953. It celebrated its 60th anniversary in 2013. At various times, he has pursued an experimental and educational perspective of movements such as the “Theater of Art” and a dialogue with the general public. The document has revealed the context and characteristics of the present and historic era, deepening the meaning of the composition of past repertoers and the relationship with postmodern poetry. The decision to perform specific writers and subjects may reflect the cultural policy and the political and artistic beliefs of the creators. In any case, the repertoire "expresses" the values and wishes of the artists (directors, actors), which are the organizations and responsible.

Cultural business repertoire: The University of Belaculus, Elka Fediuk 9 amartya Nussbaum. The Quality of Life (Oxford, English) sity pres, 1993). 10 Claudio Meldolesi, "Le Scene UNIVERSITARIE PER IL TEATRO SOCIALE EQUELLO D'ART "in Actors in University Theater, v. Minoia. NUOVE CATARSI, 2010), 33.

Edit: Elca Fediuk, Maria S. Horn Cultural Business: Belacles University Theater Elka Fediuk

Difference in expressing: Mexico, Puebla University drama Isabel Christina Flores

Chile's university theater: Continuation and reconstructed Pier Salvatri Mardonard

Scene and Social Interaction: Vit Minoia for Inclusion Educational Drama

Cultural business repertoire: The University of Belaculus, Elka Fediuk 9 Amartya Nussbaum. The Quality of Life (OXFORD, English) RESS, 1993). 10 Claudio Meldolesi, "Le Scene UNIVERSITARIE PER IL TEATRO SOCIALE E Quello D'Art "In Actors in University Theater, Edited by v. Minoia, M. S. Horne, J. Baldwin (URBINO: EDIZIONII NUOVE CATARSI, 2010 ), 33.

Edit: Elca Fediuk, Maria S. Horn Cultural Business: Belacles University Theater Elka Fediuk

Difference in expressing: Mexico, Puebla University drama Isabel Christina Flores

Difference in expressing: Mexico, Puebla University Theater Isabel Christina Flores

Scene and Social Interaction: Vit Minoia for Inclusion Educational Drama

Cultural business repertoire: University of Belaculus Company Elka Fediuk

In the dictionary of the repertoire and cultural business RAE, the primary is "a set of theater works and music works prepared by Company, orchestra, and performers for performances and performances. The use of this term goes back to the 16th century, and its effectiveness has been maintained in stable profitable organizations and subsidies, and independent theaters and "Group Theater". Group Theater is formed by free unity, proposes lon g-term projects based on the concept of theater, generally separate from commercial scenes, often separate from official scenes, and makes themselves stand out. It is a theater to create poetry 1.

The entertainment industry prefers to exploit products and cancel commitments after one or two seasons. In the case of a group theater or a stable company, it can be mentioned in the current repertoire, that is, the historical repertoire, the history of drama works (including its version). Theatrical companies like the Royal Shakespeare Company and the Comedy Francise have linked repertolies with the significance of the troupe. The Belaculus University Theater, which has obtained subsidies from public universities, is an university theater, as it has been linked to universities since 1976 and has always been linked to universities through support. There is no management independence, and the art director will be appointed from three candidates. Nevertheless, at a certain time, the art director was a very important personality and moral authority of the group as a "leader." "He is the inventor of the project and its justifiable," the difference between the venue and the theater company's director's leadership and the director of the director's leadership is "effective". 1 ELKA Fediuk, (2013) "Proyecto Posideológico Y Teatro de Grupo En Latinoamérica" Telón de Fondo, 17/2013, PP. RAE In the dictionary, the repertoire is "a set of theater works and music works prepared by the company, orchestra, and performers for performances and performances." The use of this term goes back to the 16th century, and its effectiveness has been maintained in stable profitable organizations and subsidies, and independent theaters and "Group Theater". Group Theater is formed by free unity, proposes lon g-term projects based on the concept of theater, generally separate from commercial scenes, often separate from official scenes, and makes themselves stand out. It is a theater to create poetry 1.

The entertainment industry prefers to exploit products and cancel commitments after one or two seasons. In the case of a group theater or a stable company, it can be mentioned in the current repertoire, that is, the historical repertoire, the history of drama works (including its version). Theatrical companies like the Royal Shakespeare Company and the Comedy Francise have linked repertolies with the significance of the troupe. The Belaculus University Theater, which has obtained subsidies from public universities, is an university theater, as it has been linked to universities since 1976 and has always been linked to universities through support. There is no management independence, and the art director will be appointed from three candidates. Nevertheless, at a certain time, the art director was a very important personality and moral authority of the group as a "leader." "He is the inventor of the project and its justifiable," the difference between the venue and the theater company's director's leadership and the director of the director's leadership is "effective". 1 ELKA FEDIUK, (2013) "Proyecto Posideolbongico Y Teatro de Grupo En Latinoamérica" Telón de Fondo, Núm. 17/2013, PP. In the dictionary The first is the repertoire is to set up theater works and music works prepared by Company, orchestra, and performers for performances and performances. The use of this term goes back to the 16th century, and its effectiveness has been maintained in stable profitable organizations and subsidies, and independent theaters and "Group Theater". Group Theater is formed by free unity, proposes lon g-term projects based on the concept of theater, generally separate from commercial scenes, often separate from official scenes, and makes themselves stand out. It is a theater to create poetry 1.

It does not inherit a group, but produces it. 2 In terms of its status, the Institute presents a complex case. Its birth occurred in the context of post-revolutionary Mexico, a time of what Bonfil Batalha4 calls a "cultural contest". 3 The "mono-ethnic" project reconstructed the nation as a cultural totality, modelled on the Mexican cinema of the Golden Age, and stressed its own education and culture. One example is the Escuelas de Artes y Oficios (School of Arts) in Xalapa, founded in 1922, which offered painting, music, dance and recitation classes in addition to useful professions. After the creation of the INBA (Instituto Nacional de Bellas Artes) in 1936, the expansion of the national project led to the young University of Veracruz assuming the protection of the Taller del Nuevo Teatro in 1953, where the Escuela de Teatro functioned from 1953 to 1956. Bonfil Batalha called it "alternative" and later saw its drawbacks in the monopoly of television. In the artistic field, it opened its doors to European and North American art, following current trends and avant-garde tendencies. Early examples include the Estridentista movement, based in Xalapa from 1921 to 1925, the short-lived Teatro Ulises in 1928, the group "Los Contemporaneos", the UNAM theater 5 and the "Poesia en vos alta" 6 project. In time, the power of the unique national project absorbed the group:

Reached the top in the 1917 constitution. 4 Guillermo Bonfil Batalla, (1991) Pensar Nuestra Cultura, Ensayos, Alianza, Mexico. Six writers, poets, and artists gathered, one of which was the octavio pass. reached the top in the 1917 constitution. 4 Guillermo Bonfil Batalla, (1991) Pensar Nuestra Cultura, Ensayos, Alianza, Mexico. Six writers, poets, and artists gathered, one of which was the octavio pass. Reached the top in the 1917 constitution. 4 Guillermo Bonfil Batalla, (1991) Pensar Nuestra Cultura, Ensayos, Alianza, Mexico. Six writers, poets, and artists gathered, one of which was the octavio pass.

The perspective of a cultural business is evidence of the reason for the repertoire at this time. At that time, the young playwright Sergio Magania's Moktesma II (1953) (Director: D. Gyumin) is based on nationalism. Director Dago Belt Gijaumin was trained at a workshop in Sano Seki, a Japanese master who introduced a stanisky system in Mexico, and Anton Chekhov ("Memorial Day", "Swan Song", "Tobacco harm." "About the aesthetic and modeling perspective of the play of the play of Eugene O'Neill (" Breakfast ") and Arthur Miller (" They were all my children "). Mexico like Mexico, such as Ecosas Simples, UN DIOS OLVIDADADO, and Belacles, such as Felicidadad, La Danza Que Sueya La Tortub Young playwrights are also national I'm a vocation. The octavio pass octhalgia, an octavio pass in EL Laberinto de la Sorredad (1950), focuses on Sergio Magania, focusing on Moctesma II, a controversial historical person It became. The terrible and cruel Aztec emperor believed that the conqueror Ernan Cortes was a sign of the resurrection of Ketzarcoratl, and greeted it. Magania made Cortes into a tragedy hero, and contributed to Mexicanism. Political and Beautiful Openin g-1974 Mexico experienced the contradiction between the opening of the northern neighboring country and the revolutionary sympathy for the United States. The perspective of a cultural business is evidence of the reason for the repertoire at this time. At that time, the young playwright Sergio Magania's Moktesma II (1953) (Director: D. Gyumin) is based on nationalism. Director Dago Belt Gijaumin was trained at a workshop in Sano Seki, a Japanese master who introduced a stanisky system in Mexico, and Anton Chekhov ("Memorial Day", "Swan Song", "Tobacco harm." "About the aesthetic and modeling perspective of the play of the play of Eugene O'Neill (" Breakfast ") and Arthur Miller (" They were all my children "). Mexico like Mexico, such as Ecosas Simples, UN DIOS OLVIDADADO, and Belacles, such as Felicidadad, La Danza Que Sueya La Tortub Young playwrights are also national I'm a vocation. The octavio pass octhalgia, an octavio pass in EL Laberinto de la Sorredad (1950), focuses on Sergio Magania, focusing on Moctesma II, a controversial historical person It became. The terrible and cruel Aztec emperor believed that the conqueror Ernan Cortes was a sign of the resurrection of Ketzarcoratl, and greeted it. Magania made Cortes into a tragedy hero, and contributed to Mexicanism. Political and Beautiful Openin g-1974 Mexico experienced the contradiction between the opening of the northern neighboring country and the revolutionary sympathy for the United States. The perspective of a cultural business is evidence of the reason for the repertoire at this time. At that time, the young playwright Sergio Magania's Moktesma II (1953) (Director: D. Gyumin) is based on nationalism. Director Dago Belt Gijaumin was trained at a workshop in Sano Seki, a Japanese master who introduced a stanisky system in Mexico, and Anton Chekhov ("Memorial Day", "Swan Song", "Tobacco harm." "About the aesthetic and modeling perspective of the play of the play of Eugene O'Neill (" Breakfast ") and Arthur Miller (" They were all my children "). Mexico like Mexico, such as Ecosas Simples, UN DIOS OLVIDADADO, and Belacles, such as Felicidadad, La Danza Que Sueya La Tortub Young playwrights are also national I'm a vocation. The octavio pass octhalgia, an octavio pass in EL Laberinto de la Sorredad (1950), focuses on Sergio Magania, focusing on Moctesma II, a controversial historical person It became. The terrible and cruel Aztec emperor believed that the conqueror Ernan Cortes was a sign of the resurrection of Ketzarcoratl, and greeted it. Magania made Cortes into a tragedy hero, and contributed to Mexicanism. Political and Beautiful Openin g-1974 Mexico experienced the contradiction between the opening of the northern neighboring country and the revolutionary sympathy for the United States.

Alejandra (2013) UV troupe. 60 years of testimony. Dirección Editorial Veracruzana, Xalapa. 8 Beatriz Aracil Varón , América S IN NOMBRE, November 2007 No. 9-10 P. 12-20.

Moktesma II (see "Cronología de la ProductionCCIONES" in 1953): Manuel Fiero, Susana Kacho, Fidelia Tapia Camacho. A photo archive of the Kandireha Theatrical Material Center donated by Benite Lopez.

Miller ("Panorama on the Bridge"), Southton Wilder ("Queen of the France"), Tennessee Williams ("Glass Zoo"), Anton Chekhov ("Hand Request"), and Sergio Magania ("Hand Request" The small incident of Jorge Ribid, such as (the perfect marriage life, and the clock shop in Cordova), also participated. With the appearance of the Spanish Manuel Montoro, who was enrolled at the University of Theater de Nacion, Ca) (1966 The introduction of a revolutionary vanto repertoire, such as the year, "Mariana Pineda") and the panic play of Fernando Arrabal (the anti-war "El Triciclo and Pic-Nic" in 1968). Manuel Montre and Gigelmo Berkeley held a university theater festival and directed, acting, and producing to students. The last time of this period was Gigelmo Garsa Balandrano. When he arrived from London, who learned theater, he gathered actors and dancers, crackdown on the nine student movements and slaughtered Trartorolco.

Stephen Malarme's "Elbenon's Madness" and William Break's "Heaven and Hell Marriage". The most shocking was Peter Weiss's "Malat's persecution and assassination." This intense and crazy work was attractive to young audience, but was skeptical of the mainstream audience. At the end of this period, a single play, La Villgen Roca, which Hosume Israel wrote and appeared, was premiered.

La Virgen Roca (1974) Screenplay / Appearance: Hosume Israel, Directed: Enrique Pineda: Directed by Enrique Pineeda. Photo: Jorge Castillo

"Magno Project" (1975-1985) Dr. Robert Bravo Garson's president (1973-1981) was realized. The university has inherited the sponsors of the Harapa Symphony Orchestra (the oldest in Japan), and has given some music groups, ethnic dance, contemporary dance, drama, puppet, and sculptor atelier. Research and creative organizations and the Faculty of Arts were also established. He also invited a famous actor to give his position as an academic staff, and renewed its company. With the acquisition of the Mexico City Milan Theater, the company's name recognition has been maintained.

Luisa De Aránzazu, Oscar Briegus, Los Signos Del Zodiaco, and EL VIAJE It is. However, the international repertoire, which began with Arthur Miller's Saylam Witch, has a series of success in addition to criticism of closed nationalism. Samuel Beckett ("Clap Last Tape"), Swavo Mel Muro Jeck ("Party" and "At the Kai"), Vladimir Horowitz ("Mouse"), Arthur Copip ("Nick interrogation"), Arnold Wesker ( "Barley Chicken Soup"), Vuitold Gombrovich ("Princess Burgundy, Evona"), IVONA, Princess of Burgundy), and Maximo Goriki's work "In the Human" (directed by Frio Castillo Mexico), Altur Schnitzer's "To Green Cock Tou", Ryunosuke Akutagawa's "Rashomon", and Argentina Osbald Dragun "Play in the Forest" (1976, directed by the original author). With the repertoire and awards, the company has been in the Category of the Arts Theater, which is understood as a national and university in Mexico. For the last ten years, the economic crisis has continued, and the number of premiere has decreased. The dominant poetry, which leaned to grotesque and announced the collapse of ideology and norms, has also changed. For example, Alexander Ostrovski's "Corazón ... Diario de Uncanalla" and Ugo Algueleles's "El Retable Del Gran Relajo". Dance

EN LOS BAJOS FONDOS (1979) Director Julio Castillo. Photo: CECDA-UV archive.

With the reorganization of the organization in 1984, the three companies, the Tituru, the Foro Theatral Velaculzano, and the Infunnere Theatral, the ORGANIZACICION TEATRAL DE LA UNIVERSIDAD VERACRUZANA (ORTEUV) 10 It became a panani. The laboratory has disappeared and external production has been added. Company was a turning point in Sofocles (Electra), Moriere (Don Fan), Federico Garcia Lolka (Bernarda Alba's house), and Geordi Taishidol (Ratas Otra Vez?) It was a play "máscara vs. cabellera" (1985), a mythic of Lucharibre's popular culture written by a banda for the company. The creator, director (E. Pineeda), and 11 actors 11 dynamic relationships are creative activities, and the stage script is renewed from the company's project and is more like a group theater rather than an institacy theater. It seemed to create.

Enrique Pineda directed "Mascara vs Caverella" (1985). Photo: Robert Himenes

New liberal policies and countermeasures-1986-1992 Economic Crisis brought anxiety and setbacks to all aspects of public and private. Until mi d-ten years, the company managed to relieve it thanks to the structure of the Magno Project, but when it was dismantled, it became a shortage and a new project. Infantery Theatral, a group directed by 10 Raul Serumenho, a Folo Theater Bellaclesano, and Enri Pineda, a Mexican dramaturgie profile, omitted the position of the repertoire. did. The two groups were working with clear programs between 1980 and 1984. 11 ELKA FEDIUK, (2005) "Processos de Creación: Máscara Versus: Jacqueline E. and STUART A. DAY (Comp.) El Teatro de Rascón Banda: VOCES EL MBRAL, COL. Escenología, Mexico.

In 1987, two Polish literary positions overlapped: Jarosław Iwaszkiewicz's novel Joan, Mother of Angels12 (directed by M. Muñoz and E. Pineda) and Helmut Kajal's Gwiazda 'The Star' (directed by E. Fediuk). In an atmosphere of crisis, with the introduction of neoliberal policies, the national agenda was revived, with a group of theater artists (Luis de Tavira, Julio Castillo, Héctor Mendoza) calling for a "Mexican theater" and a "Mexican theater school". The company's repertoire was reoriented towards national and contemporary authors and familiar themes. Sabina Berman's "Rompecabezas" (director: A. Oseránski), a play about the assassination of Trotsky; "Rascón Banda with Cierren las puertas" (director: E. Pineda), a play that recalls the tragedy of Electra with a cockfight; and the lotoría game, a tragicomedy. Hugo Argüelles's "Los gallos salvajes" (director: M. Chasaro), a work that transposes the tragedy of Orestes to a contemporary Mexican context. The appropriation of myths such as Máscara vs. Cabellera seemed to imprint the group, acting as a lens to highlight contemporary tragedies. The celebrations and counter-celebrations of the milestone of 500 years since the "discovery" of America and the conquest of the New World transformed the poetics of actors and puppets into grotesque tones and deconstructed structures. From Cristobalito Colon (Agustin Chi)

12 Based on the script of the film (1961) of Jerzy Kawalerowicz. 13 Marshall McRouhan coined words. 12 Jerzy Kawarerowicz's film (1961). 13 Marshall McRouhan coined words. 12 Based on the script of the film (1961) of Jerzy Kawalerowicz. 13 Marshall McRouhan coined words.

Globalization enthusiastic Mexico from 1993 to 2000 adapt to the new reality, sets out secondary education and establish English education at school, builds a monumen t-like national art center, and has a Selvantino Festival profile. Instead of a commercial image, it will modernize higher education and establish a new art organization, Conaculta, to provide subsidies and collaborative funds. The company will plan a development plan and reconstruct the rhythm of the work with domestic and overseas guest directors. Southton Wilder's "My Town" (directed by M. Montre, 1993), Leo Tolstoy's "Horse" (directed by M. de la Cru, 1995), Don von Holveras's "Cashmir and Kashmir" Caroline (Director: B. Sack, 1997), Anton Chekhov's "Kamome" (directed by M. Pankova, 1999). Representative of Mexico's dramaturgie is a reputable writer and a splendid production: Victor Ugo Ruscon Banda, Belacles, Belacles (E. Pineeda, 1994), Desima matches the sound. Dance, the tragedy of love of "Carmen" is completed. CONACULTA), Jorge Ibargengoitia's "El Tesoro Perdido" (S. méndez, 1998), Elena Gallo's "UN Hogar Sólido" (2000) is a heavy death due to the production of Rudvik Margles. Eternal wrapped around actors and actresses.

14 The University of Veracruz Theater Magazine, founded in 1975 by E. Calbalido.

In its trajectory, the company took on the actors' personal projects. This period saw the rise of the phenomenon of self-plays: plays without an author, showing only the title, the direction and the cast, with the actors not yet considering themselves the authors of the show. Generally, these works acquired a sufficient theatrical expressiveness to confront the public, such as Genero femenino/No soy feminista, y que! (directed by Y. Gallardo, 1993), Cada quien su Minotauro (based on a text by Marguerite Yourcenar and Julio Cortázar, directed by J. Rodríguez, 2000) or El cómico proceso de José K (adapted by Héctor Ortega from Franz Kafka's The Process, directed by M. Zapata, 1996). The comedic tone that had dominated until then was diluted by the emergence of horror. Themes related to the genre are inserted sparingly, since aesthetic concerns still predominate. At this stage, there is a clear competition between a show centered on the text and a show centered on the stage 15, the former following a deductive process, the latter arising from an inductive stage process, not necessarily preserving the textual traces. At this stage, the company shows its intention to become a company, but also seeks alternatives that dialogue with the environment. The poetics of rupture was transforming theatrical practice and reception. The presence of national and universal classical works renews the educational mission of the theater.

Through choreography (Marcela Aguilar) and musical adaptation (Marc Bourbaille, Joaquín López Chas), she is trying to get herself back on track. 15 Patrice Pavis, (2000) The analysis of the effects, Paidós, Barcelona. Through choreography (Marcela Aguilar) and musical adaptation (Marc Bourbaille, Joaquín López Chas), she is trying to get herself back on track. 15 Patrice Pavis, (2000) The analysis of the effects, Paidós, Barcelona. Through choreography (Marcela Aguilar) and musical adaptation (Marc Bourbaille, Joaquín López Chas), she is trying to get herself back on track. 15 Patrice Pavis, (2000) The analysis of the effects, Paidós, Barcelona.

The Theater Company Rosarva Los Labellos (2008) is a youth comedy by Emirio Calvard, and is an advanced model symbolized by a girl from the Tokyo metropolitan area. The "progress" was overwhelming today, but did not match the audience's emotions that looked at the globalized world. Meanwhile, El Atentado (2008, coach E. Singer), a film of a famous novel of Jorge Ibalg Engoitia, makes use of the theme of political operation in the application of justice, using the dark passage of the Cristeros War. Draw again with the production. After these first bets, the rapid development is the participation of exclusive playwright Luis Enri Gutizes Ortis Monasterio (known as LEGOM). His poetry imposes what we know as Naraturgia 16 in a way to ambiguous and prioritize literary discourse. Text is a major material, and a story without a story or a fragmented story is sent directly to the audience. Civilización (2007), "ODIO A LOS PUTOS MEXICANOS", "Lampart, O Cómo Colarse a la Historia", "EL ORIGEN DE LAS ESPECIES" (2009) Rubber In the work, the words return to the foreground. How this animal came out of the cave, climbed to the star, and was extinct (2012). Intellectual words that touch the current affairs in the irony tone reveal the perverse of human relationships. Rosarva Los LaSlabellos, a theater company "(2008) is a youth comedy by Emilio Calvarbed, and a progressive model symbolized by a girl from the Tokyo metropolitan area confronts the country's mentality. 。 The "progress" was overwhelming today, but did not match the audience's emotions that looked at the globalized world. Meanwhile, El Atentado (2008, coach E. Singer), a film of a famous novel of Jorge Ibalg Engoitia, makes use of the theme of political operation in the application of justice, using the dark passage of the Cristeros War. Draw again with the production. After these first bets, the rapid development is the participation of exclusive playwright Luis Enri Gutizes Ortis Monasterio (known as LEGOM). His poetry imposes what we know as Naraturgia 16 in a way to ambiguous and prioritize literary discourse. Text is a major material, and a story without a story or a fragmented story is sent directly to the audience. Civilización (2007), "ODIO A LOS PUTOS MEXICANOS", "Lampart, O Cómo Colarse a la Historia", "EL ORIGEN DE LAS ESPECIES" (2009) Rubber In the work, the words return to the foreground. How this animal came out of the cave, climbed to the star, and was extinct (2012). Intellectual words that touch the current affairs in the irony tone reveal the perverse of human relationships. The Theater Company Rosarva Los Labellos (2008) is a youth comedy by Emirio Calvard, and is an advanced model symbolized by a girl from the Tokyo metropolitan area. The "progress" was overwhelming today, but did not match the audience's emotions that looked at the globalized world. On the other hand, El Atentado (2008, coach E. Singer), a film of a famous novel of Jorge Ibarg Engoitia, makes the theme of the dark passage of the Christelos War, the theme of political operation in the application of justice. Draw again with the production. After these first bets, the rapid development is the participation of exclusive playwright Luis Enri Gutizes Ortis Monasterio (known as LEGOM). His poetry imposes what we know as Naraturgia 16 in a way to obscure the characters and prioritize literary discourse. Text is the main material, and a story without a story or a fragmented story can be sent directly to the audience. Civilización (2007), "ODIO A LOS PUTOS MEXICANOS", "Lampart, O Cómo Colarse a la Historia", "EL ORIGEN DE LAS ESPECIES" (2009) Rubber In the work, the words return to the foreground. How this animal came out of the cave, climbed to the star, and was extinct (2012). Intellectual words that touch the current affairs in the irony tone reveal the perverse of human relationships.

Friendship and protection of the weakest people.

See 16: José SANCHIS Sinisterra, (2012) Narraturgia. Dramaturgia.

See 16: José Sanchis Sinisterra, (2012) Narraturgia. Dramaturgia de TextOS Narrativos, Mexico, Paso de Gato.

See 16: José Sanchis Sinisterra, (2012) narraturgia. Dramaturgia.

The only work premiered in 2013 to commemorate the 60th anniversary of the company's founding was "Bassivol," directed by David Gaitan. As is common in the stage script, rehearsals begin with therapeutic gymnastics within a group. The theme of "baseball" is a sel f-mentioned sel f-mentioned that reveals the physical and human deterioration of the company actors and actresses, but the theme and behavior are sometimes directed, and the actors fight each other. It is set in a structure like a dragonfly or Russian roulette game. For example, an actor uses everything he knows about his partner and what he hears in a private confession, and has to reveal his partner. Listening to the whispering of others is aggressive and humiliated, but actors have to resist their personality. The actors who were the origin and art of the opponent's standpoint were to expose their humanity, deterioration, talent, mediocre, and make the audience laugh. We do not despise what we do. In the case of the former, participating in the project is free, no matter how risky it is, while organized Company does not escape the rewarded actors. Interestingly, the theater company was a great success at the festival. The only work premiered in 2013 to commemorate the 60th anniversary of the company's founding was the Bassivol, directed by David Gaitan. As is common in the stage script, rehearsals begin with therapeutic gymnastics within a group. The theme of "baseball" is a sel f-mentioned sel f-mentioned that reveals the physical and human deterioration of the company actors and actresses, but the theme and behavior are sometimes directed, and the actors fight each other. It is set in a structure like a dragonfly or Russian roulette game. For example, an actor uses everything he knows about his partner and what he hears in a private confession, and has to reveal his partner. Listening to the whispering of others is aggressive and humiliated, but actors have to resist their personality. The actors who were the origin and art of the opponent's standpoint were to expose their humanity, deterioration, talent, mediocre, and make the audience laugh. We do not despise what we do. In the case of the former, participating in the project is free, no matter how risky it is, while organized Company does not escape the rewarded actors. Interestingly, the theater company was a great success at the festival. The only work premiered in 2013 to commemorate the 60th anniversary of the company's founding was "Bassivol," directed by David Gaitan. As is common in the stage script, rehearsals begin with therapeutic gymnastics within a group. The theme of "baseball" is a sel f-mentioned sel f-mentioned that reveals the physical and human deterioration of the company actors and actresses, but the theme and behavior are sometimes directed, and the actors fight each other. It is set in a structure like a dragonfly or Russian roulette game. For example, an actor uses everything he knows about his partner and what he hears in a private confession, and has to reveal his partner. Listening to the whispering of others is aggressive and humiliated, but actors have to resist their personality. The actors who were the origin and art of the opponent's standpoint were to expose their humanity, deterioration, talent, mediocre, and make the audience laugh. We do not despise what we do. In the case of the former, participating in the project is free, no matter how risky it is, while organized Company does not escape the rewarded actors. Interestingly, the theater company was a great success at the festival.

Young Mortadela, Young Sausage and Chingtra, Gynecologist Boutifara, Brave Conqueror Molonga, Moronga, Zungver Vula Stepranidero, Guru Albononidero, Guru Albonzige, Doctor Peperoni, Mama Cancer, Salami Cancer, Maltadela Old Visiting the swing, a journey where the audience is the opponent of the story, he is tempted, involved, arbitrated, sent as a witness, is threatened, and saved. A journey in which Mortadela Biero and Blanc, the audience plays the opponent of the story. He is tempted, involved, asked, asked, witnessed, sent, threatened, saved, invaded, or existed. 17 José a. sánchez, (2012) Prácticas de Lo Real en la Escena Contemporánea, Paso de Gato, Mexico.

Béisbol] (2013) Director David Gaitan. Photo Lewis Antonio Marine.

Travel around the platform and the fragmentary history of people living there are doubled to each scene by 40 spectators who enter one by one between the scenes. Although there is a pr e-designed configuration, the details change as the audience enters personally. The timing of the repeated episodes is all the same, and physical routines (gestures, applause, jumps, steps, etc.) are unified on all platforms. The actors and casts are naked, and sometimes the use of props, as if the whole story is always the same, the deterioration of time, the characteristics of sausage, and the story of the story that only the digestion process progresses. Can be recognized. We participants become one body by sharing sweat, intensity, and irreparable traces of fate. The existing consideration of biological processing processes is that from the innocent Longanizer youth and children, we have already met in other stages of life / history after all the age of other sausages. Until the reappearance of, it is a combination of medieval journey around the season. On the top, I met the "White Sausage" swalleae. The old woman sends us into a lon g-turned digestive tract, excreted from the anus, and falls in front of the ironic skeleton sitting over the seasons and tables. From the elements Young Mortadela, young sausage and chigtra, gynecologist Boutifara, brave conquered Molonga, Moronga, Zungvervull Stepranidero, Guru Albonjiga, Aged Sausage, Doctor Peperoni, Mom Mam Cardinal Mortadela, visiting the bran and the spectator, the spectator is the opponent of the story, he is tempted, involved, arbitrated, sent as a witness, is threatened, and saved. A journey in which Mortadela Biero and Blanc, the audience plays the opponent of the story. He is tempted, involved, asked, asked, witnessed, sent, threatened, saved, invaded, or existed. 17 José a. sánchez, (2012) Prácticas de Lo Real en la Escena Contemporánea, Paso de Gato, Mexico.

Béisbol] (2013) Director David Gaitan. Photo Lewis Antonio Marine.

Travel around the platform and the fragmentary history of people living there are doubled to each scene by 40 spectators who enter one by one between the scenes. Although there is a pr e-designed configuration, the details change as the audience enters personally. The timing of the repeated episodes is all the same, and physical routines (gestures, applause, jumps, steps, etc.) are unified on all platforms. The actors and casts are naked, and sometimes the use of props, as if the whole story is always the same, the deterioration of time, the characteristics of sausage, and the story of the story that only the digestion process progresses. Can be recognized. We participants become one body by sharing sweat, intensity, and irreparable traces of fate. The existing consideration of biological processing processes is that from the innocent Longanizer youth and children, we have already met in other stages of life / history after all the age of other sausages. Until the reappearance of, it is a combination of medieval journey around the season. On the top, I met the "White Sausage" swalleae. The old woman sends us into a lon g-turned digestive tract, excreted from the anus, and falls in front of the ironic skeleton sitting over the seasons and tables. From the elements to young Mortadela, young sausage and chigrilla, gynecologist Boutifara, brave conquered Molonga, Moronga, Zungverle Stplanidero, Guru Albononidero, Aguin Sausage, Doctor Peperoni, Mom Hikin Meat, Salami Cardon, Mortadela Maltadela Older visits to the swing, the spectators are the opponent of the story, he is tempted, involved, arbitrated, sent as a witness, is sent, threatened, and saved. A journey in which Mortadela Biero and Blanc, the audience plays the opponent of the story. He is tempted, involved, asked, asked, witnessed, sent, threatened, saved, invaded, or existed. 17 José a. sánchez, (2012) Prácticas de Lo Real en la Escena Contemporánea, Paso de Gato, Mexico.

Chile's University Theater: Continuation and Reform Pía Salvatori Maldonado

These examples indicate the reconstruction of projects for aesthetic experiments. Unlike the invasion of the audience, it confronts the actor / actress of the company, as a physical substance of acting that lacks personality, and as a solid ground for representation. The conclusion of the company's repertoire in 60 years was led by the era category in accordance with cultural projects. Initially, the "unique nation" project (Bon fil m-Batara) was developed, but the aesthetic doctrine of psychological realism led to Russia and North American dramaturggy. At the subsequent stages, there are attempts to balance the universal and ethnic drama under the policy of sharing culture. The company was between the director's personal preference and the company's situation and ambition. As the polycopic project has become established, the screenplay on the stage, local themes, and local perceptions have been strengthened. Over the 60th anniversary, there are few ancient or European classics, and there are no important linguistic sources of the Golden Age. Except for Osbald Dragun, there were no plays by Latin American playwrights. This simple analysis intends to promote the following analysis to the UV company. These examples indicate the reconstruction of projects for aesthetic experiments. Unlike the invasion of the audience, it confronts the actor / actress of the company, as a physical substance of acting that lacks personality, and as a solid ground for representation. The conclusion of the company's repertoire in 60 years was led by the era category in accordance with cultural projects. Initially, the "unique nation" project (Bon fil m-Batara) was developed, but the aesthetic doctrine of psychological realism led to Russia and North American dramaturggy. At the subsequent stages, there are attempts to balance the universal and ethnic drama under the policy of sharing culture. The company was between the director's personal preference and the company's situation and ambition. As the polycopic project has become established, the screenplay on the stage, local themes, and local perceptions have been strengthened. Over the 60th anniversary, there are few ancient or European classics, and there are no important linguistic sources of the Golden Age. Except for Osbald Dragun, there were no plays by Latin American playwrights. This simple analysis intends to promote the following analysis to the UV company. These examples indicate the reconstruction of projects for aesthetic experiments. Unlike the invasion of the audience, it confronts the actor / actress of the company, as a physical substance of acting that lacks personality, and as a solid ground for representation. The conclusion of the company's repertoire in 60 years was led by the era category in accordance with cultural projects. Initially, the "unique nation" project (Bon fil m-Batara) was developed, but the aesthetic doctrine of psychological realism led to Russia and North American dramaturggy. At the subsequent stages, there are attempts to balance the universal and ethnic drama under the policy of sharing culture. The company was between the director's personal preference and the company's situation and ambition. As the polycopic project has become established, the screenplay on the stage, local themes, and local perceptions have been strengthened. Over the 60th anniversary, there are few ancient or European classics, and there are no important linguistic sources of the Golden Age. Except for Osbald Dragun, there were no plays by Latin American playwrights. This simple analysis intends to promote the following analysis to the UV company.

References Arasil Baron, Beatrice. "Moctezuma II: AUSENCIA Y PRESENCIA EL TEATRO MEXICANO". OS Líderes 'Efectivos' Y Las Comunides ArtíSticas "Investigación Teatral Segunda época. 3/NO. 5 (2013/2014): 99-109. EATRO. Xalapa: CIUDAD TEATRAL 1950-2000. Volume 1 to 8 Until the volume. (CD), Candileja A. C., 2000. Bonfil Batalla, Guillermo. Cultural policy "La Palabbra Y El Hombrew. Nueva época, No. 1 (2007): 48-54. -----. Process of Creation: Hair of Masked Kitchen In: Bixler, Jacqueline E. and Stuart A. Day (Comp.) El Teatro de Rascón Banda : voces en el umbral. Escenología, Mexico (2005). ------. Latin America's post-viewing projects and groups "" Telón de fondo "No. 17/2013 (2013): 41-55.- ----. "Belacles University" in: El Teatro Mexicano Visto de EUROPA. Collection Etudes, Presess UNIVERSITAIRES DE PERPIGNAN, Pavis Patrice. Spectacle Analysis. Barcelona: Paid, 2000. El Laberinto de la Sorredad. Mexico: Fondo de Cultura Económica, 1999. EAL IN La Escena Contemporánea. Mexico: Paso de Gato, 2012. SANCHIS SINISTERRA, José. Narraturgia. Dramaturgia de TextOS Narrativos. Mexico: Paso de Gateau, 2012. cell

University theater: repertoire, culture, tradition, and history indicate the encounter with the characteristic practice of each research center in our experience. Mexico universities have built their own stories, and the development of artistic expressions created in it indicates the relationship between history, tradition, specificity, social political development, and the geographical position of Mexico. In this study, we propose a landscape metaphor that reflects the trajectory of university theater in three areas: creators, repertoire, and masses, and in this line, events that show the importance of university theater in the tradition of Puebla and the tradition of theater. Emphasizes. By converting the symbolic expressions of art into an organized proposal, a space that fascinates the audience, a unique academic structure, a spacing space, influential areas, and a spectator.

La Diferencia de Repressentar: Mexico, Puebla University Theater Isabel Christina Flores University drama: Refactory, culture, tradition, and history, in our experience, we encounter the characteristic practice of each research center It is represented. Mexico universities have built their own stories, and the development of artistic expressions created in it indicates the relationship between history, tradition, specificity, social political development, and the geographical position of Mexico. In this study, we propose a landscape metaphor that reflects the trajectory of university theater in three areas: creators, repertoire, and masses, and in this line, events that show the importance of university theater in the tradition of Puebla and the tradition of theater. Emphasizes. By converting the symbolic expressions of art into an organized proposal, a space that fascinates the audience, a unique academic structure, a spacing space, influential areas, and a spectator.

La Diferencia de Repressentar: Mexico, Puebla University Theater Isabel Christina Flores Theater: Refactory, Culture, Tradition, and History indicate the characteristic encounter of each research center in our experience. 。 Mexico universities have built their own stories, and the development of artistic expressions created in it indicates the relationship between history, tradition, specificity, social political development, and the geographical position of Mexico. In this study, we propose a landscape metaphor that reflects the trajectory of university theater in three areas: creators, repertoire, and masses, and in this line, events that show the importance of university theater in the tradition of Puebla and the tradition of theater. Emphasizes. By converting the symbolic expressions of art into an organized proposal, a space that fascinates the audience, a unique academic structure, a spacing space, influential areas, and a spectator.

La Diferencia de Repressentar: Mexico, Puebla University Theater Isabel Christina Flores

Founded by the Autonomous University of Puebla 1, Teatro Universitario has a repertoire, a culture, a tradition and a history. In our experience, it means an encounter with the unique practices of each research center. Theater in Mexican universities has a specific history, so the development of artistic expressions that have arisen in it speaks not only of its geographical position on the Mexican theatrical map, but also of its relationship with history, traditions, makers, particularities and socio-political events. This study proposes to consider the trajectory of the University Theater of Puebla, divided into three periods, where scenic metaphors, makers, repertoires, publics and event times coexist, showing the place of the University Theater in the theatrical tradition of Puebla. It was a symbolic expression of art in Puebla that, when translated into an organizational proposal, created its own academic structures, spaces of dissemination, scope of resonance and audience enchantment. Echoes of History The history of theater in Puebla has many deeds that should not be forgotten and events that should be written in capital letters. We want to acknowledge and say loudly that today's University Theater exists thanks to the passion and tenacity of many people. The year was 1967, and the following was published in the newspaper El Día:

1 From now on, we will use the initials BUAP. 2 Fausto Castillo, "El Día", Mexico City, August 1967.

From that time until today, this space has been a reference point for artistic expression. In its bosom, artistic movements were born that represent more than 80% of the theatrical activity in Puebla. Groups, spaces, directors, actors, events fill the Puebla theater signboards, making it one of the most important cultural outlets in the region. 3. A past and a present that thus involves and interests us, our University Theater inspires the desire and passion to comment on it, to write about it, to document it, to witness it. The signs that mark its trajectory have yet to be unravelled from few records and scarce memories, and assembling the puzzle of a broken and often interrupted tradition represents part of the difficulties facing theatrical studies in this country. In this study, we propose to review one axis of the repertoire in which we can find a certain contingency; a theme that has repeatedly identified the University Theater in three moments: 1957, 1995 and 2002, without any deliberate purpose or desire for consensus. An event that gave us the opportunity to know the evolution of repertoire, themes, the artistic development of actors and directors, audiences, the transitions and transformations of the Puebla theater movement over the past 68 years. Coincidentally, Antigone, the heroine of Sophocles' topic, also slipped in with the determination to defy the laws and decrees of the Puebla authorities.

http://sintesis. mx/articulos/83621/inicia-foro-internacional-de-teatro-universitario-x-/puebla. mx/puebla. TURA/INICIA-EL-XI-FOR O-Internacional-De-TEATRO-UNIVERSITARIO. 4 Teatro Universitario de Puebla 25 Years of Permanent Work, 1948/1971, Puebla: 1972.

Dr. Altoulo Alonso Idalgo and Ignacio Ibarara (two former college students) devised a university theater in Puebla and performed on November 13 in the M. Panyol "Topasio" at Cine Theatrro Guerrero. 。 This production was a new concept of theater, "5. In the last few years, the group had no unique theater, so the work of theaters in the city, Theatrro Principal, Theater Estadio Odiseo, Salon Barocco, Cine Guerrero. This group was performing a universal repertoire in Mexico City, Belacles, and participating in the festival. He wrote one of the most notable pages in the theater world, "Training actors, the love of the soul, muscles and bones, and the actor. Not only will you be able to get used to the audience, not only to tell the audience. You have to fulfill your emotional commitment 6 (words of Angeles Pedrasa de Ibara). Foro-International-de-TeatSitario-x-/puebla. RO-UNIVERSITARIO. 4 TeaTro UNIVERSITARIO de Puebla 25 Years of Permanent Work, 1948/1971, Puebla: 1972.

Dr. Altoulo Alonso Idalgo and Ignacio Ibarara (two former college students) devised a university theater in Puebla and performed on November 13 in the M. Panyol "Topasio" at Cine Theatrro Guerrero. 。 This production was a new concept of theater, "5. In the last few years, the group had no unique theater, so the work of theaters in the city, Theatrro Principal, Theater Estadio Odiseo, Salon Barocco, Cine Guerrero. This group was performing a universal repertoire in Mexico City, Belacles, and participating in the festival. He wrote one of the most notable pages in the theater world, "Training actors, the love of the soul, muscles and bones, and the actor. Not only will you be able to get used to the audience, not only to tell the audience. You have to fulfill your emotional commitment (Http://sintesis. mx/artnacional. -De-TEATRO-UNIVERSITARIO-x-/puebla. 4 TEATRO UNIVERSITARIO de Puebla 25 Years of Permanent Work, 1948/1971, Puebla: 1972.

Social interaction with Essena: Vit Minoia for an inclusive education theater

The great theatrical movements of the 20th century gain momentum in Mexico City: Los contemporáneos, Teatro Ulises, Teatro de Orientación, Poesía en Voz Alta. The National Academy of Fine Arts, the Department of Dramatic Arts and the INBA Dramatic School are founded, and festivals and drama courses are launched at the National Autonomous University of Mexico. Villaurrutia, Novo, Usigli and Gorostiza lay the foundations of the new theater, proposing a renewal of interpretive art and scenography in search of an expression of Mexican theater. At the same time, Ignacio Ibarra from Puebla translates, directs and produces, and works are underway to renovate the space. The hall is the warmest in Puebla, with excellent acoustics, an amphitheatre and a pit. In 1972, for mysterious reasons beyond the control of the theater, the university authorities closed the space and Ibarra was separated from the theater. Invited by Ángeles Pedraza, I searched the maestro's archives. There, I was amazed by his great love for the theater, his talent, his set and costume designs, his photographic memory, his archive and his work, the dimensions of a complete artist. For 25 years he worked admirably and this period is recognized with his name. 1972-1979, the popular movement at the University Theater After the closure of the theater in 1972, difficult times of political turmoil and upheaval followed.

This university theater was important both locally and nationally. In 1989, it was closed for renovation. Among the university theater makers of this period were Tomás Amaya, Marco Castillo, Victor Puebla, Patricia Lezama, Jorge Sago and Carlos Gama. 42

On April 30, 1990, the theater reopened as the Ignacio Ibarra Mazari Theater. It opened its doors with a new motto: to organize and support theatrical activities, and to provide facilities with equal access for all theater people and university groups. It was an initiative born in 1987 in the working group "Problems and Perspectives of University Theater" organized by Diffución Cultural. In 1991, the group "Elenco Experimental de la BUAP" (Experimental Cast of BUAP) was created, representing the creators of university theater. In 1997, the theater was closed due to institutional designation, reopened on August 11 of the same year, but was closed again due to the severe structural damage caused by the earthquake in 1999. Ten years later, in 2009, it was reopened under the management of the Faculty of Arts. During this time, it is worth noting the important contributions that have kept the illusion of the Puebla Universitario Theater: Lilia Pérez Ramirez, Armando Bautista, Alberto Morales, Jorge Luis Vargas, Alejandro Ferrero, Felipe Galván, Olivia Zacarías, Emilio Salceda, Cristina Flores and Oscar Rosas. Artistic activities 1983-1990 - Dance workshop: training, choreography, workshops. - Theatre workshops and productions: Voces en el Umbral, Rascón Banda; Rey Lear, Shakespeare; The Precious Ridiculas, Molière; El Rastro, Elena Garro; Tarde with Chejov, The House of Bernarda Alba, García Lorca; The Criadas, Jean Genet, etc.

- FFyL group, directed by Alberto Morales Ruffo. Student theatre. - La Cuchara group, directed by Alejandro Ferrero and Jorge Luis Vargas. Productions of works by A. Ferrero and other writers.

- Siluetas group, directed by Lilia Ester Pérez Ramírez. Poetic creation.

- Juegos y Sueños group, directed by Oscar Rosas. Experimental theatre. - Free Theatre Company, directed by Felipe Galván. Children's theatre. - Group Creation Teatral, directed by Cristina Flores. Major works: "Les Familles de Sabias" by Molière, "Les Eternal Women" by Rosario Castellanos, "Rastro and Mudanza" by Elena Gallo, "Antigona" by Jean Anneuilh, etc.

-The four seasons of the group that make up Construction de Teatristas Universitarios.

-A performance by buap experimental cast. Performance: TU VOZ DE 43

Felipe Garban, Keletaro Regional Theater, Republic of the Republic, Aguaskarientes National Theater (1991), Alexander Germanic banks (1992). From 1997 to the present, the university theater was built as a privileged space located in the center of the historical area of Aguas Calientes, and its voice could take a step over the border and take a step towards professionalization. It is fun to remember the day when the "Art Project" was announced on the warm night of May 14, 1997 at the BUAP University Council's session. Dr. Robert Hernandez Oramas commented on the stage as follows: Here, while discussing whether the opening of an art bachelor is a priority for universities, Theatritit Univ Sitario is overflowing with people, and more than half of the people who could not secure a place to see the final performance of Antigona. I got it. -The four seasons that make up Conseme de Teatristas UNIVERSITARIOS.

-A performance by buap experimental cast. Performance: TU VOZ DE 43

Felipe Garban, Keletaro Regional Theater, Republic of the Republic, Aguaskarientes National Theater (1991), Alexander Germanic banks (1992). From 1997 to the present, the university theater was built as a privileged space located in the center of the historical area of Aguas Calientes, and its voice could take a step over the border and take a step towards professionalization. It is fun to remember the day when the "Art Project" was announced on the warm night of May 14, 1997 at the BUAP University Council's session. Dr. Robert Hernandez Oramas commented on the stage as follows: Here, while discussing whether the opening of an art bachelor is a priority for universities, Theatritit Univ Sitario is overflowing with people, and more than half of the people who could not secure a place to see the final performance of Antigona. I got it. -The four seasons of the group that make up Construction de Teatristas Universitarios.

-A performance by buap experimental cast. Performance: TU VOZ DE 43

Ignacio Ibarra made history, groups and theatrical figures presented their works, in 1987 the idea of professionalizing theater in Puebla took shape, in 1990 the members of the Theater Council met, and in 1997 the Faculty of Arts and the Theater Degree were created at BUAP. It is therefore essential to resume research that bears witness to its microhistory in order to place it in the panorama of the macrohistory and research of theater in Mexico. The Significance of University Theater in Puebla Considering the trajectory of Puebla's university theater over the past 68 years, taking as its reference angle the scenographic metaphors found in the theatrical repertoire of the three periods with Antigona, casts us a kind of optical projection to understand the sampling of different theatrical eras and the manifestation of university theater in the period under study. Jean Anneuilh's Antigona is a totalizing image that speaks of a vision of theater production in the broad universe of the university-theater-society relationship. This fact motivated the collection of data, documents, testimonies, curiosities, and the testimony of Dr. Roberto Hernández Oramas.

We present an anecdote to approach the periods that have characterized the history of the University Theater of Puebla. First of all, the deep commitment of its makers to control the resources and means of making plays, ahead of the University authorities. Secondly, each period renews the validity of the questions about the Teatro Universitario in relation to its training, repertoire and history, positioning it as a place where it begins and returns to inscribe itself in the contemporary history of theater in Puebla. Thirdly, it is a characteristic seed that generates a theatrical culture, leading to the formation of an artistic cadre, artistic appreciation and the formation of an audience. This mission, which opposes the invasions of television, mass media, theatrical commerce, facilitation and charlatanism, positions it in time and space as a strength of the tradition of artistic theater in Puebla. A rain of ideas that, translated in the everyday theater, show the poblano audience the territory of the university scene and determine the position to see, say, do and appreciate theater. Among the aesthetic references we can mention:

The development of avant-garde artistic movements The core of theatrical culture Current affairs, interwoven with times and events Link with the environment The formation of an artistic cadre The discovery of quality parameters Criteria of artistic appreciation A repertoire with emphasis on national dramaturgy The face of the university Expressions of multiculturalism The formation of the audience and the captive spectator

In this theatrical retrospective, the decision to make a play is closely linked to the aim of answering questions that trouble our contemporaries. We propose an intervention on the planes of creation, poetics, training and theatrical practice, which are intimately intertwined with our reality and experience. The present, reasons and motives of the play.

"Antigonay" in the three era Why "Antigonay"? George Steiner mentions 11 in a wide range of studies entitled "Antigonay", and mentions a universal mythology journey across the Western history, and this theme is almost all theater era, country, and theater. We measure the huge dimensions acquired by. Based on the research of thinkers such as Hegel, Heldarin, and Kirkegall, the theme of this play is a preliminary view and answered the following questions. Now, how can we read and experience "Antigone"? What kind of understanding can be understood under the weight of the interpretation heritage, which is the overall explanation and poetic interpretation?

Despite the time gap, this stubborn answer may be the intimacy fibers of the rebellious heroes who continue to vibrate with the rebellious heroes in terms of the current truth. You can do it. This immutability seems to be the legitimate reason for antigone to invade on the stage of Puebla. The history of our theater is mixed with our country's theater and foreign drama, the festival and rituals are mixed, the provisions and abstractions are mixed, the irony and truth are mixed, and the face of Mexico theater is pursued. It is a reflection of the reality that is the driving force that connects and solves the knot. La Puesta En Escena En La Historia Del TeatSitario En Puebla in the history of the university theater in Puebla! It is a real living expression and an amazing dimension of the theater phenomenon itself. Rostoro de Antigona Rostro de Antígona 1957: Romantic Fighter. University theater group, directed: Ignacio Ibara Mazari. On December 7, 1957, an antigonay broke in at a university theater, which was just launched by UAP13, in a close scene in front of 110 spectators. Ignacio Ibarara undertakes the job of directing with young actors, and the postwar political environment is creative, plain, and clean, and the trendy costumes, width middle ankles, and many etiquette I tried to express it. Among them, the singing voice of the choir by Jose Lewis Ibara resonated in this space for the first time.

11 G. Steiner, Gedisa, Barcelona, 1996. 12 -----, Antígonas, Gedisa, Barcelona, 1996. Eat anything in front of OMA.

Lucile Galvanathy & Françoise Odan Conducted Reel University Festival 3 Sotile Haviuras & Elaine Lutier

Antique 40 years of Natalie Duplen Michel & Ann e-Sophie Meyer

Serving on the plateau of Ann e-Frederick Burgie

The female heroine, the original proposal of Sofocles, is anthropomorphic in the rebellion of Antigone and Cleon's rules, but in this proposal, at the moment of the biggest conflict, it is called Antigonay, which responds to the boldness of the king's prohibition. At first glance, it is a fragile figure. This brave personality heads to the untrained brother's corpse and performs a funeral ceremony while tearing the soil with his own claws. The behavior of a sibling war, intervention, betrayal, anxiety, and a vivid atmosphere of the disaster that has gained the magnitude of a rebellion. In this creation, the "antigone contempt" is a silence revolution. A serious act of justice and beliefs is performed by only one person, and the dirty, torn, and thin back face comes to light. Anuille's accent, which has become a motivation for directing, exposes the contradiction between the power of power, the cold of the law, the ideal of justice, and the warmth of humans. Antigone questions the decision of power, with an unbreakable will, shakes it, and eventually overturns the Kereon's kingdom. The reliable conviction in the chaos, which is watching and experienced in the theater, is impressive and impresses Puebla's audience. Antigone's face 1995: Passionate warrior. Glupo Clairsion Theater, directed by: Back of the stage behind Christina Flores, "weaving transactions".

15 Antigona in 1995. The heroine, a female heroine, is anthropomorphic in antigonay and Cleon's rules, but in this case, the king's ban is banned at the moment of the greatest conflict. At first glance, it is a seemingly frustrating person, an antigonay, which responds with a fierce boldness. This brave personality heads to the untrained brother's corpse and performs a funeral ceremony while tearing the soil with his own claws. The behavior of a sibling war, intervention, betrayal, anxiety, and a vivid atmosphere of the disaster that has gained the magnitude of a rebellion. In this creation, the "antigone contempt" is a silence revolution. A serious act of justice and beliefs is performed by only one person, and the dirty, torn, and thin back face comes to light. Anuille's accent, which has become a motivation for directing, exposes the contradiction between the power of power, the cold of the law, the ideal of justice, and the warmth of humans. Antigone questions the decision of power, with an unbreakable will, shakes it, and eventually overturns the Kereon's kingdom. The reliable conviction in the chaos, which is watching and experienced in the theater, is impressive and impresses Puebla's audience. Antigone's face 1995: Passionate warrior. Glupo Clairsion Theater, directed by: Back of the stage behind Christina Flores, "weaving transactions".

15 Antigona in 1995. The female heroine, the original proposal of Sofocles, is anthropomorphic against Antigonay and Cleon's rules, but in this proposal, the king is fierce over the ban on the king. At first glance, it is a seemingly fragile person called Antigonay, which responds with boldness. This brave personality heads to the untrained brother's corpse and performs a funeral ceremony while tearing the soil with his own claws. The behavior of a sibling war, intervention, betrayal, anxiety, and a vivid atmosphere of the disaster that has gained the magnitude of a rebellion. In this creation, the "antigone contempt" is a silence revolution. A serious act of justice and beliefs is performed by only one person, and the dirty, torn, and thin back face comes to light. Anuille's accent, which has become a motivation for directing, exposes the contradiction between the power of power, the cold of the law, the ideal of justice, and the warmth of humans. Antigone questions the decision of power, with an unbreakable will, shakes it, and eventually overturns the Kereon's kingdom. The reliable conviction in the chaos, which is watching and experienced in the theater, is impressive and impresses Puebla's audience. Antigone's face 1995: Passionate warrior. Glupo Clairsion Theater, directed by: Back of the stage behind Christina Flores, "weaving transactions".

15 Antigona in 1995. Hand program, grupo creación TEATRAL.

Antigone (1995) by J. Anneuilh. Angélica Rodríguez, Nodriza, Alicia Valencia. Directed by Cristina Flores.

The third time: the whole connection Antigone's attitude of defending the truth takes on a unique meaning on the Puebla stage. A model of a modern heroine appears, reflective and transcendent, offering a funeral rite for her brother, faithful to the ideal of justice until the last moment, banishing the fear of a foretold punishment. Antigone's broad smile as she defies Creon indicates the unity of what she thinks, does and says, a profile of self-determination and freedom. Antigone will die again and again in the arena of the current power struggle. 2002 Face of Antigone: Free thinker. BUAP School of Drama Group. Directed by Cristina Flores. Thebes awaits great events. The expectation suggests the presence, absence and loneliness of Thebes. Antigone thinks deeply, speaks clearly, her actions match, and she shows a profile that is behind the times. Sweaty, hasty, and simple, she appears, and her actions reveal a deep background of conviction and a superficial emotionality. The scene is very close to the audience, the visible tears running down her cheeks, the reading of the thought process, the physical sensations, the texture of the emotions, the detailed perception of the sounds. Rattles, whistles, guajes, calabazos, ollas, palo de lluvia, teponaztli, shells, shells, they invite us to participate in the collapse of a society that does not think.

-The three faces, the response of the "Antigonay myth", the series of events, the important resonance of the theme, and the historical moment are shocked the intimate fibers of the audience in the three times, and the audience's sense of the audience is shocked. Give. 50

J. Anuille "Antigone" (2002), Antigonay, Laksa de Casta. Directed: Christina Flores.

-Modificial materials, production ideas, work with actors, and how to do stage art proposals.

-Balance, harmony, and integration of all elements related to directing.

-In this new theater life options for those who research the creation, the university theater is a new theater life option for those who research the creation.

Puebla's university theater suggests a unique convergence space in its own face, its own spectators, and a theater with its own time in the creation.

I wouldn't have been able to fall in love with humans in art forever without choosing a creative and original theater in a large stage of various trends in the struggle. "

16 M. O. Knébel, "All My Life". VTO 1967.

BIBLIOGRAFOAILH, J. Antígona Jezabel. Buenos Aires: Fuentes, C. Cantar de Ciegos. Mexico, 1964. 3. Buenos Aires: Ediciones de la Flor, 1997. Huertas, J. Antígonas , Linage de Hembras. Celcit, Dramática Latinoamericana 198. Buenos Aires, 2005. Knébel, M. O. TODA MOSCú: VTO, 1967. MARECHAL, L. Antígona Vélez. Buenos Aires: 1998. NIETZSCHE Cimiento de la Tragedia. Madrid: Biblioteca Nueva, 2007. Steiner, G. Antígonas. Barcelona: Gedisa, 1996.

The art movement created by Chile's university theater has created a very important aesthetic and social phenomenon for Chile's theater scene since the 1940s.

Chile's University Theater: Continuation and Reform Pier Salvatri Mardonard

Antique 40 years of Natalie Duplen Michel & Ann e-Sophie Meyer

In sync with this historical environment, the University Theater Movement sought to recover the educational and ethical role of theater, questioning from within the function of theater in the community. In this regard, Domingo Piga, director of the Dramatic School of the University of Chile, comments: "Our generation of '41 was the first to set itself the task of encountering the human being and the theme, that is, the interests and forces that move the human being, the events, the contradictions, the social problems, the economy, the politics, that is, the national core of the theme. Since the movement of the generation of Acevedo Hernández, Diaz Mesa and others in '13, there has been no generation with such characteristics. 1.

From the very beginning, the artistic and social experience of each group was linked to the very institutional background of the university. In the first years, they only had a name and a rehearsal space, and after a few years they received financial support. "University theater depends on university life, and it is the relationship that is established between one and the other that determines its growth and survival. Each university has its own history, which affects the history of each theater in a different way. The peak of its development was the university reform of 1967-1970. During this period, educational activities were reconsidered at an academic, political and social level, which undoubtedly boosted the already flourishing theater scene. 3 The university provided a place of confluence in the urban environment, becoming a center of education, discussion and intellectual development. Under this umbrella, the university group shows a close relationship with the dynamics under which the university of the city operates. As various studies have shown, it is possible to recognize a "theater city" due to the important influence of the group's activities on the national theater panorama.

Since the purpose is to verify each case, we are interested in considering the artistic and formulated value of this movement from an integrated perspective. In this sense, we recognize the interests of groups trying to renew the stage by performing great classics and newly successful European dramaturgy. As an example, most of the groups opened their activities to the local community by performing foreign drama: in 1941, as Chile University Experimental Theater (CONJUNTO DE ARTE DRAMATICO DEL INTITUTO PEDAGOGICICO) Starting) premiered the texts of Ramon del Baj e-Inkran, Miguel de Servantes, Lope de Leda, and Alejandro Casona. Later in 1943, a student at the Papal Agency at the Papalika university established the Ensayo Theater and performed a secret drama of Jose de Valdiviso; in 1968, the Balparaso University Theater in the Lene de Obaldia play, a training attached to the university. It was established as a department. Since the purpose is to verify each case, we are interested in considering the artistic and formula value of this movement from an integrated perspective. In this sense, we recognize the interests of groups trying to renew the stage by performing great classics and newly successful European dramaturgy. As an example, most of the groups opened their activities to the local community by performing foreign drama: in 1941, as Chile University Experimental Theater (CONJUNTO DE ARTE DRAMATICO DEL INTITUTO PEDAGOGICICO) Starting) premiered the texts of Ramon del Baj e-Inkran, Miguel de Servantes, Lope de Leda, and Alejandro Casona. Later in 1943, students at the Pope of Papalika established the Ensayo Theater and performed the secret drama of Jose de Valdiviso; in 1968, the Balparaso University Theater in the Lene de Obaldia play, a training attached to the university. It was established as a department. Since the purpose is to verify each case, we are interested in considering the artistic and formulated value of this movement from an integrated perspective. In this sense, we recognize the interests of groups trying to renew the stage by performing great classics and newly successful European dramaturgy. As an example, most of the groups opened their activities to the local community by performing foreign drama: in 1941, as Chile University Experimental Theater (CONJUNTO DE ARTE DRAMATICO DEL INTITUTO PEDAGOGICICO) Starting) premiered the texts of Ramon del Baj e-Inkran, Miguel de Servantes, Lope de Leda, and Alejandro Casona. Later in 1943, a student at the Papal Agency at the Papalika university established the Ensayo Theater and performed a secret drama of Jose de Valdiviso; in 1968, the Balparaso University Theater in the Lene de Obaldia play, a training attached to the university. It was established as a department.

In 1939 and 1944, and in 1942, the Louis Jouvet company was founded.

5 Grignall Rojo, The End and Revival of Chilean Theatre 1973-1983 (Madrid: Ediciones Mihai, 1984), Chapter 1, http://www. blest. eu/biblio/rojo/index. html.

Critical Vision 6 of artists for their works. He was not interested in absorbing foreign theatrical poetry in a primary manner, and this exercise has been critical and creative for the definition of "Chile's popular theater." One of the first initiative in this exploration was the relief of the traditional genre of Chilean theater, for example, the evaluation and r e-format of a certain poetry, including Costunbrista drama. This poetry is characterized by explaining the habits and usage of communities and social associations and defining their behavioral power in relationships between social sector and other social divisions. The play selection is based on famous players such as Brest Gana, Asbedo Hernandez, Armand Mook, and Jose Chesta. In other words, by confirming the unification of Aristotl e-like time and space, the production is the result of precisely studying the units of the play. This is due to the organizationalization of work, research on characters and stage art, directors, and in short of theater work. Another critical intervention over the tradition of Chile's drama was a new poetry reaction. For example, the dramaturgie of Jorge Diaz, who has stepped into the absurd theater along with the absurd drama and the absurd theater.

The question of national theater and Hispano-American theater is not only raised in university spaces, but also in parallel spaces such as other theaters, such as those of Enrique Buenaventura, Gabriel Martínez and Augusto Boal (Albornoz, Contreras and Henríquez 2002), or in spaces other than the formative environments, such as popular circuses, clandestine parties, underground biennials, tents and tours (Opazo 2014). 8 Grignall Rojo, Muerte y resurrección del teatro chileno (1973-1983), http://www. blest. eu/biblio/rojo/ index. html. The reuse of epic theatrical procedures allowed new forms of expression and experimental developments in line with the themes addressed in the scenes. 9 As a means of cultural dissemination that extends to all sectors of society, theatrical art is a concrete means of raising awareness of collective problems that are not necessarily shared or known by everyone. In the mid-60s, this perception seemed to have been unfounded, as criticism of the playwrights themselves from within the theatre companies - both from Teatro Ensayo and from experimental theatres - pointed to a clear decadence of the theatre as it had been practised, that is, a mere bourgeoisification. Teodosio Fernández writes in this regard that "the playwrights experimented with new forms of expression, but their limitations were clearly the same as those of the university theatres in which they had appeared". In the same way, Juan Villegas is critical of the dramaturgy of this period, and especially of the work carried out in the university theatres. The hegemonic Chilean theatrical discourse, that is to say what was perceived as "representative", was by and large a middle-class discourse aimed at the same middle classes. This division of the theatrical corpus is important for the following reasons: The question of national theater and Hispano-American theater does not only arise in university spaces, but also in parallel spaces outside of the formative milieu, such as the theaters of Enrique Buenaventura, Gabriel Martínez and Augusto Boal (Albornoz, Contreras and Henríquez 2002), or in popular circuses, clandestine parties, underground biennials, tents and tours (Opazo 2014). 8 Grignall Rojo, Muerte y resurrección del teatro chileno (1973-1983), http://www. blest. eu/biblio/rojo/ index. html. The reuse of epic theatrical procedures allowed new forms of expression and experimental developments in line with the themes addressed in the scenes. 9 Dramatic art, as a means of cultural dissemination that reaches all sectors of society, is a concrete means of raising awareness of collective problems that are not necessarily shared or known by everyone. In the mid-60s, this perception seemed to have been unfounded, as criticism of the playwrights themselves from within the theatre companies - both from the Teatro Ensayo and from experimental theatres - pointed to a clear decadence of the theatre as it had been practised, that is, a theatre that had simply become bourgeois. In this regard, Teodosio Fernández writes that "the authors experimented with new forms of expression, but their limitations were clearly the same as those of the university theatres in which they emerged". In the same way, Juan Villegas makes a critical observation of the dramaturgy of this period, and especially of the activities carried out in the university theatres. The hegemonic Chilean theatrical discourse, that is to say what was perceived as "representative", was by and large a middle-class discourse aimed at the same middle classes. This division of the theatrical corpus is important because it allows us to: The question of national theater and Hispano-American theater is not only raised in university spaces, but also in parallel spaces such as other theaters, such as those of Enrique Buenaventura, Gabriel Martínez and Augusto Boal (Albornoz, Contreras and Henríquez 2002), or in non-formational environments such as popular circuses, clandestine parties, underground biennials, tents and tours (Opazo 2014). 8 Grignall Rojo, Muerte y resurrección del teatro chileno (1973-1983), http://www. blest. eu/biblio/rojo/ index. html. The reuse of epic theatrical procedures allowed new forms of expression and experimental developments in line with the themes addressed in the scenes. 9 As a means of cultural dissemination that extends to all sectors of society, theatrical art is a concrete means of raising awareness of collective problems that are not necessarily shared or known by everyone. In the mid-60s, this perception seemed to have been unfounded, as criticism of the playwrights themselves from within the theatre companies - both from Teatro Ensayo and from experimental theatres - pointed to a clear decadence of the theatre as it had been practised, that is, a mere bourgeoisification. Teodosio Fernández wrote in this regard that "the authors experimented with new forms of expression, but their limitations were clearly the same as those of the university theatres in which they had appeared". In the same way, Juan Villegas was critical of the dramaturgy of this period, and especially of the work carried out in the university theatres. The hegemonic Chilean theatrical discourse, that is to say what was perceived as "representative", was by and large a middle-class discourse aimed at the same middle classes. This division of the theatrical corpus is important for the following reasons:

For the author, this is only the "apparent" plurality of the social plot expressed in university theater. For example, issues such as the linguistic registers of characters and the composition of the characters are the texts of Lewis Helaymance, Egon Wolf, and Ishidra Aguirre, but from this perspective, the characters are aid. It is presumed to be a popular entity that is in sync with the ideologies of the middle layer. In other words, the social cognition of the middle class was linked to a kind of image projected through culture, politics, and in this case, in a contained and critical case. 10 Same, 343 11 Villegas, "LOS MARGINADOS COMO PERSONAJES:" Latin American Theater Review 19, No. 2 (1986) For the author, this is a university drama It is only the "apparent" plurality of the social plot expressed. For example, issues such as the linguistic registers of characters and the composition of the characters are the texts of Lewis Helaymance, Egon Wolf, and Ishidra Aguirre, but from this perspective, the characters are aid. It is presumed to be a popular entity that is in sync with the ideologies of the middle layer. In other words, the social cognition of the middle class was linked to a kind of image projected through culture, politics, and in this case, in a contained and critical case. 10 Same, 343 11 Villegas, "LOS MARGINADOS COMO PERSONAJES:" Latin American Theater Review 19, No. 2 (1986) For the author, this is expressed in university drama It is just a "apparent" plural "apparent" of a social plot. For example, issues such as the linguistic registers of characters and the composition of the characters are the texts of Lewis Helaymance, Egon Wolf, and Ishidra Aguirre, but from this perspective, the characters are aid. It is presumed to be a popular entity that is in sync with the ideologies of the middle layer. In other words, the social cognition of the middle class was linked to a kind of image projected through culture, politics, and in this case, in a contained and critical case. 10 同上、343 11 Juan Villegas, 「Los marginados como personajes: teatro chileno de la década de la sesenta,」 Latin American Theater Review 19, no. 2 (1986): 85.

By the theater. In this sense, these theaters symbolize the projection of the rise of social class cultural demands. Ramon Griperello, one of Chile's representative postmodern playwrights, said, "Chile's university theater has adhered to reproducing Stanisla v-Susc o-like representation models in a local form, and psych o-realistic dramatul. 12 I admit that I focused on ghee. It was clear that poetry, such as Vuzevorod Meyer Hold, Oscar Schulenmar, and Edward Craig, was far from the invasion of the university theater. In response to such a stagnation of university groups, activities such as independent amateur organizations, such as the ICTAS and the Central Labor Association's cut theater, or the Chile Theater Association (Antach), gave creativity to the stage of Chile. 。 The creative format of the amateur group leans on the exploration of instruments that enable more free expressions, and the cafe concert genre can connect social criticism and humor and popularity through small and improvised performances. I did. Another important genre of production was a group creation, priority in expressing no n-hierarchical unity in the activities of the company. By collective creation theater. In this sense, these theaters symbolize the projection of the rise of social class cultural demands. Ramon Griperello, one of Chile's representative postmodern playwrights, said, "Chile's university theater has adhered to reproducing Stanisla v-Susc o-like representation models in a local form, and psych o-realistic dramatul. 12 I admit that I focused on ghee. It was clear that poetry, such as Vuzevorod Meyer Hold, Oscar Schulenmar, and Edward Craig, was far from the invasion of the university theater. In response to such a stagnation of university groups, activities such as independent amateur organizations, such as the ICTAS and the Central Labor Association's cut theater, or the Chile Theater Association (Antach), gave creativity to the stage of Chile. 。 The creative format of the amateur group leans on the exploration of instruments that enable more free expressions, and the cafe concert genre can connect social criticism and humor and popularity through small and improvised performances. I did. Another important genre of production was a group creation, priority in expressing no n-hierarchical unity in the activities of the company. By the group creative theater. In this sense, these theaters symbolize the projection of the rise of social class cultural demands. Ramon Griperello, one of Chile's representative postmodern playwrights, said, "Chile's university theater has adhered to reproducing Stanisla v-Susc o-like representation models in a local form, and psych o-realistic dramatul. 12 I admitted that I focused on ghee. It was clear that poetry, such as Vuzevorod Meyer Hold, Oscar Schulenmar, and Edward Craig, was far from the invasion of the university theater. In response to such a stagnation of university groups, activities such as independent amateur organizations, such as the Ictus, the Central Workers Association's cut theater, or the Chile Theater Association (Antach), gave creativity to the stage of Chile. 。 The creative format of the amateur group is inclined to search for instruments that enable more free expressions, and the cafe concert genre can connect social criticism and popularity through small and improvised performances. I did. Another important genre of production was a group creation, priority in expressing no n-hierarchical unity in the activities of the company. Collective creation

12 Ramón Griffero, "The Schizophrenia of Scenic Truth," 1993, last modified November 11, 2008, http://www. griffero. cl/ensayo. htm. 13 María de La Luz Hurtado, Chilean Dramaturgy 1890-1990. Authorship, Textuality, Historicity (Santiago: Frontera Sur, 2011), 287.

Taller de Investigación TEATRAL (Tit), Aleph, TEATRO DEL ERRANTE, etc. The historical moment of Chile Drama is often spoken through company, playwrights, and directors. This means that discourse and language belong to a group, promoting common poetics mature over time, and the artists are circulating within the group. Currently, group creation is evolving into the format of an art group as a result of the theatrical language mixed with other fields and highly hybridized. Each member from a variety of areas can contribute to the final spectacle results through autonomous discourse and try to more freely test various languages and code for the stage. This is because it is a horizontal work system that tends to emphasize neat and expressive dimensions than themes and ideology. Examples of Chile's company organized by such systems include La Patgarina, Collectivo Theatral Mamut, Group El Orakro, La Grand Leineta, and Theatrro Cinema. As pointed out at the beginning, the university theater movement, born in the 1940s, changed significantly by the dictatorship that continued until 1989. The administration Taller de Investigación Teatral (Tit), Aleph, Teatro Del Erante, etc. The historical moment of Chile Drama is often spoken through company, playwrights, and directors. This means that discourse and language belong to a group, promoting common poetics mature over time, and the artists are circulating within the group. Currently, group creation is evolving into the format of an art group as a result of the theatrical language mixed with other fields and highly hybridized. Each member from a variety of areas can contribute to the final spectacle results through autonomous discourse and try to more freely test various languages and code for the stage. This is because it is a horizontal work system that tends to emphasize neat and expressive dimensions than themes and ideology. Examples of Chile's company organized by such systems include La Patgarina, Collectivo Theatral Mamut, Group El Orakro, La Grand Leineta, and Theatrro Cinema. As pointed out at the beginning, the university theater movement, born in the 1940s, changed significantly by the dictatorship that continued until 1989. The administration Taller de Investigación Teatral (Tit), Aleph, Teatro Del Erante, etc. The historical moment of Chile Drama is often spoken through company, playwrights, and directors. This means that discourse and language belong to a group, promoting common poetics mature over time, and the artists are circulating within the group. Currently, group creation is evolving into the format of an art group as a result of the theatrical language mixed with other fields and highly hybridized. Each member from a variety of areas can contribute to the final spectacle results through autonomous discourse and try to more freely test various languages and code for the stage. This is because it is a horizontal work system that tends to emphasize neat and expressive dimensions than themes and ideology. Examples of Chile's company organized by such systems include La Patgarina, Collectivo Theatral Mamut, Group El Orakro, La Grand Leineta, and Theatrro Cinema. As pointed out at the beginning, the university theater movement, born in the 1940s, changed significantly by the dictatorship that continued until 1989. administration

Teatro Aparte (1985), formed by professional actors who got a degree at the University of Catholica, Grand Sarco Theatrro (1988), established by the late actor Andres Perez, and Ekol Nogera Theatrro There are Camino (1989), Luis Ureta, which is now a larger organization, La Puerta (1990), and Teatra La Maria (1999), a play of Alexis Moreno. Currently, there are Theater de Chile (2001), directed by Manuela Infante, which was born in 2000, and Central de Intellijencia Theater (2003), directed by Lewis Balace. Theatrro Aparte (1985), formed by professional actors who got a degree at the University of Catholica, Grand Sarco Theatrro (1988) established by the late actor Andres Perez, Etron Nogera There are Theatrro Camino (1989), Lewis Ureta, which is now a larger organization, La Puerta (1990), and Theatra La Maria (1999) in Alexis Moreno's play. Currently, there are Theater de Chile (2001), directed by Manuela Infante, which was born in 2000, and Central de Intellijencia Theater (2003), directed by Lewis Balace. Teatro Aparte (1985), formed by professional actors who got a degree at the University of Catholica, Grand Sarco Theatrro (1988), established by the late actor Andres Perez, and Ekol Nogera Theatrro There are Camino (1989), Luis Ureta, which is now a larger organization, La Puerta (1990), and Teatra La Maria (1999), a play of Alexis Moreno. Currently, there are Theater de Chile (2001), directed by Manuela Infante, which was born in 2000, and Central de Intellijencia Theater (2003), directed by Lewis Balace.

A new decree in 1974 applied a tax rate of 22% on gross income15. In the 80s, other perspectives, other searches and social representations fertilized theatrical activity in the country. Faced with the specific needs of a postmodern and pre-announced era, and the national historical events that accompanied it, theater established a form of social resistance, as a place of denunciation and critical debate. Returning to the generation of university groups, it is also important to recognize their contribution to centralization, by taking theater to the remote areas of the country through a repertoire with a content and language that was attractive and easily accessible to the audience. Such activity took the form of national and international tours of companies and residencies of actors and directors in various organizations in the country, which also became an opportunity for the training of the artists themselves. Currently, centralization is a concrete problem in the development of theater in Chile. There are few theater schools in the provinces, and they are hardly able to "counter" with the historical university theater schools of Santiago, both in terms of training and production.

Death and resurrection of Chilean theatre (1973-1983), http://www. blest. eu/biblio/rojo/ index. html。

The Chirino National Theater originated from the experimental theater and has various companies under its name. In the field of drama theory and theater criticism, I would like to highly evaluate the contributions of institutions and universities that contribute to the development of new theater critics and researchers and contribute to the development of audience. For example, the project "Esquela de Espector Dores (audience school)" promoted by Catholic University a few years ago. Theater is an idiomatic activity that organizes familiar cultural backgrounds in ideology and expresses the positions and specific social intentions spoken in play. It is a means of discourse by metaphorical expression, in which each generation interprets, translates, and directs certain visions. This exercise knows how to penetrate the traditions and changes proposed from local / national and foreign environments, and is rich in contact with other theaters. He asked, promoted and integrated his current drama. Some concerns about the creation and experimental format of the generation are still effective and form a part of the identity of modern Chile Drama. Library information Albornos, Adolfo, c o-authored. The Chirino National Theater originated from the experimental theater and has various companies under its name. In the field of drama theory and theater criticism, I would like to highly evaluate the contributions of institutions and universities that contribute to the development of new theater critics and researchers and contribute to the development of audience. For example, the project "Esquela de Espector Dores (audience school)" promoted by Catholic University a few years ago. Theater is an idiomatic activity that organizes familiar cultural backgrounds in ideology and expresses the positions and specific social intentions spoken in play. It is a way of discourse by metaphorical expression, in which each generation interprets, translates, and directs certain visions. This exercise knows how to penetrate the traditions and changes proposed from local / national and foreign environments, and is rich in contact with other theaters. He asked, promoted and integrated his current drama. Some concerns about the creation and experimental format of the generation are still effective and form a part of the identity of modern Chile Drama. Library information Albornos, Adolfo, c o-authored. The Chirino National Theater originated from the experimental theater and has various companies under its name. In the field of drama theory and theater criticism, I would like to highly evaluate the contributions of institutions and universities that contribute to the development of new theater critics and researchers and contribute to the development of audience. For example, the project "Esquela de Espector Dores (audience school)" promoted by Catholic University a few years ago. Theater is an idiomatic activity that organizes familiar cultural backgrounds in ideology and expresses the positions and specific social intentions spoken in play. It is a means of discourse by metaphorical expression, in which each generation interprets, translates, and directs certain visions. This exercise knows how to penetrate the traditions and changes proposed from local / national and foreign environments, and is rich in contact with other theaters. He asked, promoted and integrated his current drama. Some concerns about the creation and experimental format of the generation are still effective and form a part of the identity of modern Chile Drama. Library information Albornos, Adolfo, c o-authored.

VILLEGAS, JUAN. "LOS MARGINADOS COMO PERSONAJES: TEATRO CHILENO DE LA DECADA DEL SESENTA". Latin American Theater Review 19, No: 85-5. 63

The Aenigma Theater at the University of Urbino is a publisher of European magazine "TEATRI DELLE DIVERSITà" (a diversity theater), and has created a paradigemic expression route with disabled people, prisoners, and mental illness for the past 20 years. I am experimenting with the theater research model that I came to. Following the trajectory of internationally developing phenomena, the author tries to propose a method of clarifying a new inclusive education theater. This kind of experience is continuous and similar to the research theater in both development, methodological / creative diversity, and has participated in the renewal of language and techniques. This experience is to create pollution and nourishment from the other to the other due to the constant assimilation of art drama and inclusive educational drama, and depict a variety of areas with many contacts between art, drama, and social nature. It is useful.

Scenery and Social Interact: Vito Minoia Villegas, Juan. Ican Theater Review 19, No: 85-5 63

The Aenigma Theater at the University of Ulvino is a publisher of European magazine "TEATRI DELLE DIVERSITà" (a diversity theater), and has created a paradig m-like pathway with disability, prisoners, and mental illness for the past 20 years. I am experimenting with the theater research model that I came to. Following the trajectory of internationally developing phenomena, the author tries to propose a method of clarifying a new inclusive education theater. This kind of experience is continuous and similar to the research theater in both development, methodological / creative diversity, and has participated in the renewal of language and techniques. This experience is to create pollution and nourishment from the other to the other due to the constant assimilation of art drama and inclusive educational drama, and depict a variety of areas with many contacts between art, drama, and social nature. It is useful.

Scenery and Social Interaction: Vito Minoia Villegas, Juan. Eater Review 19, No: 85-5. 63

Scenery and Social Interaction: Vit Minoia for an inclusive education theater

Professor Emirio Potze, my teacher at the University of Walvino, who died in Milan, who died in Milan, who died in Milan, a research and research at the University of Ulvino through European Journal Catarsi- Teatri Delle Diversità (Diversity Theater). I want to devote it to. This magazine has contributed to the development of this theme and the development of this theme, which is understood today as the "Social Contents Theater." Today, this magazine counts No. 67 and is just 19th year of publication. I think that the promise of being active in the first issue in December 1996, information, research, and criticism, has been respected. Information: Get and spread news about theater activities in a broad sense as a means of training and communication in the "world" defined as "different" and as a means of training and communication for the "world". Research: Spread scientific research aimed at identifying the means to open the path to inclusion through the coexistence of equality and dignity. Critical consideration: We promote constant discussions on the stage, errors, and prejudice among different scholars.

A magazine that pays attention to research that is open but not criticized, but keeps a look at new things that follow the fashion. "It is a magazine that shows complicated visions and thoughts, which includes many elements that make up drama, such as the relationship between the cultural phenomena and drama that exists in the era when theater is being developed. It is a deeply projected tool, and the experience of acting, the current change and social change at the University of Ulvino at the University of Ulvino. I would like to dedicate this research and research to Professor Emilio Potzi, my teacher at the University of Ulvino, who died in Milan in April 2010. It contributes to the development of research and investigation of this theme that has been understood. Today, this magazine counts No. 67 and is just 19th year of publication. I think that the promise of being active in the first issue in December 1996, information, research, and criticism, has been respected. Information: Get and spread news about theater activities in a broad sense as a means of training and communication in the "world" defined as "different" and as a means of training and communication for the "world". Research: Spread scientific research aimed at identifying the means to open the path to inclusion through the coexistence of equality and dignity. Critical consideration: We promote constant discussions on the stage, errors, and prejudice among different scholars.

A magazine that pays attention to research that is open but not criticized, but keeps a look at new things that follow the fashion. "It is a magazine that shows complicated visions and thoughts, which includes many elements that make up drama, such as the relationship between the cultural phenomena and drama that exists in the era when theater is being developed. Deeply projected tools, what is becoming now, the experience of acting, and research at the Walvino University of European Journal Catarsi-Teatri Diversità. I would like to devote this research to Professor Emilio Potzi, a teacher at the University of Ulvino, who died in Milan in April 2010. It contributes to the development of research and investigation of this theme. Today, this magazine counts No. 67 and is just 19th year of publication. I think that the promise of being active in the first issue in December 1996, information, research, and criticism, has been respected. Information: Get and spread news about theater activities in a broad sense as a means of training and communication in the "world" defined as "different" and as a means of training and communication for the "world". Research: Spread scientific research aimed at identifying the means to open the path to inclusion through the coexistence of equality and dignity. Critical consideration: We promote constant discussions on the stage, errors, and prejudice among different scholars.

A magazine that pays attention to research that is open but not criticized, but keeps a look at new things that follow the fashion. "It is a magazine that shows complex visions and thoughts, which includes many elements that make up drama, such as the relationship between the cultural phenomena and drama that exists in the days when theater is being developed. It is a deeply projected tool, what is becoming now, the experience of acting, the current change and social change.

Professor Daniele Seragnoli of Ferrala University is the "Theater Workshop" based on the 19t h-century theater magazine in accordance with the idea of Marco Consolini (Solbonne Nouver Paris No. 3) and Roberta Gandolfi (Palma University). He published a dissertation entitled Laura Renna, who graduated in 2002, as follows. TEATRI DELLE DIVERSITà uses comba t-like commitments and talks about current affairs. Under this vision, the Scientific Committee is organized by Professor Claudio Meldresi of the University of Bologna, as in psychology, sociology, anthropology, educational, cultural research, and especially in magazines. It was enriched by theater and no expert in the "theater" field. The members of the Scientific Committee are Professor Seranoli, Guido Sarah (Milan), Cergio Piro (Naples), Andrea Kanewarlo (Bologna), Piergio Jacket (Peruja), John Rich (Siena), John. Churantz (Malta), Gianni Tibaldi (Padva), Cist Dalla Palma (Milan), Luigi Scarzina (Rome), Jean Franco de Bodio (Milan). Professor Daniele Seragnoli of Ferrala University is based on the 19t h-century theatrical magazine in accordance with the idea of Marco Consolini (Solbonne Nouver Paris No. 3) and Roberta Gandolfi (Palma University). He published a paper entitled "Workshop", and stated the study of Raura Renna, a student who graduated in 2002. TEATRI DELLE DIVERSITà uses comba t-like commitments and talks about current affairs. Under this vision, the Scientific Committee is organized by Professor Claudio Meldresi of the University of Bologna, as in psychology, sociology, anthropology, educational, cultural research, and especially in magazines. It was enriched by theater and no expert in the "theater" field. The members of the Scientific Committee are Professor Seranoli, Guido Sarah (Milan), Cergio Piro (Naples), Andrea Kanewarlo (Bologna), Piergio Jacket (Peruja), John Rich (Siena), John. Churantz (Malta), Gianni Tibaldi (Padva), Cist Dalla Palma (Milan), Luigi Scarzina (Rome), Jean Franco de Bodio (Milan). Professor Daniele Seragnoli of Ferrala University is the "Theater Workshop" based on the 19t h-century theater magazine in accordance with the idea of Marco Consolini (Solbonne Nouver Paris No. 3) and Roberta Gandolfi (Palma University). He published a dissertation entitled Laura Renna, who graduated in 2002, as follows. TEATRI DELLE DIVERSITà uses comba t-like commitments and talks about current affairs. Under this vision, the Scientific Committee is organized by Professor Claudio Meldresi of the University of Bologna, as in psychology, sociology, anthropology, educational, cultural research, and especially in magazines. It was enriched by theater and no expert in the "theater" field. The members of the Scientific Committee are Professor Seranoli, Guido Sarah (Milan), Cergio Piro (Naples), Andrea Kanewarlo (Bologna), Piergio Jacket (Peruja), John Rich (Siena), John. Churantz (Malta), Gianni Tibaldi (Padva), Cist Dalla Palma (Milan), Luigi Scarzina (Rome), Jean Franco de Bodio (Milan).

Daniele Seragnoli, 「Theatres of Diversity (1996-2002) Analysis and Indexes of a Liberal A on the Theatre of Social Interaction」, European Journal Catarsi-Teatri delle diversa 8, no. 26/27 (2003): 35.

Black and white are the best way to express drama in various situations. Among them, Maurizio Buscalino is a very important person, not only in his artistic work, but also by his role on how to convey the story. Maurizio Buscarino is a person who has taken various cover and photos of this magazine. Our research departs from the foundation of "Others" and is most effective to understand who we are and what our purpose is through a situation that seems to be abnormal for the rules. It seemed to be a target, scientific and practical method. In the process, we have expanded the range of topics and at the same time have gained new readers in various fields. People in the theater world, directors, actors, etc., people who sympathized with this reality, those who were interested in theater and read the textbooks of Moreno 2 and psycho drama, Hospitals that Foucault and other masters have studied. People who sympathize with the closed world where they live, such as prisons. Many have found a new key to reading in the principle of theater literature. Perhaps the readers who did not know or felt attractive, especially university students, were conquered by various forms of theatrical facts, helping to develop new reading methods. Black and white are the best way to express drama in various situations. Among them, Maurizio Buscalino is a very important person, not only in his artistic work, but also by his role on how to convey the story. Maurizio Buscarino is a person who has taken various cover and photos of this magazine. Our research departs from the foundation of "Others" and is most effective to understand who we are and what our purpose is through a situation that seems to be abnormal for the rules. It seemed to be a target, scientific and practical method. In the process, we have expanded the range of topics and at the same time have gained new readers in various fields. People in the theater world, directors, actors, etc., people who sympathized with this reality, those who were interested in theater and read the textbooks of Moreno 2 and psycho drama, Hospitals that Foucault and other masters have studied. People who sympathize with the closed world where they live, such as prisons. Many have found a new key to reading in the principle of theater literature. Perhaps the readers who did not know or felt attractive, especially university students, were conquered by various forms of theatrical facts, helping to develop new reading methods. Black and white are the best way to express drama in various situations. Among them, Maurizio Buscalino is a very important person, not only in his artistic work, but also by his role on how to convey the story. Maurizio Buscarino is a person who has taken various cover and photos of this magazine. Our research departs from the foundation of "Others" and is most effective to understand who we are and what our purpose is through a situation that seems to be abnormal for the rules. It seemed to be a target, scientific and practical method. In the process, we have expanded the range of topics and at the same time have gained new readers in various fields. People in the theater world, directors, actors, etc., people who sympathized with this reality, those who were interested in theater and read the textbooks of Moreno 2 and psycho drama, Hospitals that Foucault and other masters have studied. People who sympathize with the closed world where they live, such as prisons. Many have found a new key to reading in the principle of theater literature. Perhaps the readers who did not know or felt attractive, especially university students, were conquered by various forms of theatrical facts, helping to develop new reading methods.

Elim Rim - Journalist, creative writer

Last modified 07.04.2025

Maximum sign area: shall be included in the maximum wall sign area calculation permitted for all wall signs, thirty-six square feet or fifty. Cuando tenía probablemente unos 15 o 16 años leí en algún libro que utilizamos la mano derecha para escribir simplemente porque el lenguaje se encuentra. Paint with Passion is a painting that celebrates the wonder and beauty of South Texas. The lower. Laguna Madre is depicted late in the afternoon with the.

Play

accepted